Review: HELLO, DOLLY! YOU'RE LOOKING SWELL! at Omaha Community Theatre

HELLO, DOLLY! is looking swell at the Omaha Community Playhouse! The last production of their 99th season is closing with a classic crowd pleaser.

In 1964 Jerry Herman (music and lyrics) and Michael Stewart (book) collaborated on what would become one of the most well-loved musicals of the last 60 years. It won a fistful of awards (15 Tony Awards) and featured some of the best stars on Broadway, including Carol Channing, Mary Martin, and Pearl Bailey as Dolly.

Based on Thornton Wilder’s “The Merchant of Yonkers,” the story centers around sexagenarian (she would approve this moniker) Dolly Gallagher Levi. Dolly carries a carpet bag of tricks for everyone. She offers services for everything from dancing lessons to mandolin playing to her favorite—marriage. Her skill set is meddling with a specialty in matchmaking.

Susan Baer Collins, a long-time favorite Omaha director, directs this 2 1/2 hour-long musical production in such a fun way that time flies by and the audience is constantly entertained by the color, the music, and the comedy. It’s a banquet for the senses and it feels good!

Music director Jim Boggess is a pro. There isn’t a bad note, instrumentally or vocally. When the ensemble sings as a group, it’s downright chilling. Sarah Ebke (Dolly) and Mackenzie Zielke (Irene Malloy) have powerful vocals in very different styles that completely suit their characters. They are a joy to listen to. Cork Ramer (Horace Vandergelder), Kyle Avery (Cornelius Hackl), and Brandon Fisher (Barnaby Tucker) lead the men in a rousing (and hopefully tongue-in-cheek) rendition of “It Takes a Woman” that is as much fun to see as it is to hear. The lyrics, music, and choreography build the ideal big Broadway number.

Jim Othuse cannot miss. His sets are always incredible, but he may have outdone himself this time. The multiple sets are all artistic creations with so much visual appeal. He designs pieces that are smoothly moved with little to no interruption to the show, under the watchful eye of Stage Manager Jeanne Shelton. Aja Jackson’s lighting design adds interest and mood, particularly the pink lighting in the pleasing “Ribbons Down My Back” scene with Zielke.

Michelle Garrity has created some wonderful choreography. There were times when my eyes were glued to the stage simply watching the actors move. Little sideways shuffles amuse. Big numbers wow. “The Waiters' Galop,” which seems influenced by “Fiddler On the Roof” and “Beauty and the Beast,” is a crowd favorite. Waiters garbed in black and white dance with silver plates and long forks of food eliciting an explosion of applause.

Kudos to Tim Burkhart for his Sound Design and John Gibilisco for Sound Effects. The clarity and volume are just right, ensuring that no joke falls unheard.

Sarah Ebke owns the character of Dolly. She is so likable! She is funny…intentionally, and possibly even unintentionally. Her understated line delivery, her movements, her facials all entertain. When she speaks with her departed husband, Ephraim, she is moving with her transparent loneliness. She has a fix for everyone but herself. But she’s trying to set herself up as well, with the half-a-millionaire Vandergelder as long as Ephraim approves her finding new happiness.

Cork Ramer is consistently funny. He makes a perfect grouchy old man, whether it’s Scrooge or Vandergelder. His slow transition from crotchety to congenial is sweet, showing his good heart beneath his cross exterior.

Mackenzie Zielke is a strong presence on stage and her vocals are sublime. She can run up and down a musical score like a monkey on a tree trunk. Her voice is agile and sure. I’m not totally convinced that her budding relationship with the timid Cornelius will work, but when they dance together, it’s harmony.

Tabor Cross (Ambrose Kemper) presents a forceful character as a struggling artist while Charlotte Hedican (Minnie Fay) and Belle Rangel (Ermengarde) epitomize young women who are either fearful and fretful.

HELLO, DOLLY! is layered. Comedy runs from farcical situations with men popping in and out of wardrobes to witty commentary. Dolly is plumb full of one-liners that tickle. And like the layers of comedy, Lindsay Pape’s colorful costumes also range from monochromatic sleek gowns to dresses with layers and frills like frosting on a kid’s birthday cake.

HELLO, DOLLY! is so nice to see on stage. You cannot help humming the music and leaving the theatre in a good mood. It runs until June 30 with showtimes Thursday through Saturday at 7:30 pm and Sunday at 2:00 pm. Get tickets at ticketomaha.com or call the OCP box office at 402-553-0800. Dolly is sure to have something special for you.

Photo credit: Colin Conces

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