Review: DOLLY! at The Can Can

Dear Readers, as you know, I’ve often extolled the fabulousness of the shows at The Can Can.  Director Chris Pink and the cast and crew repeatedly bring the goods.  And I’ve often commented on how one show after another may be one of my new favorites of theirs.  Well, Dear Readers, they’ve done it again with, “Dolly!”! 

Now, when I say “Dolly” you may have the urge to say “Hello” musical theater style.  Or maybe you’re thinking about one of the most wonderful, iconic, talented, and all-around angel on earth country singers.  Or maybe you think about a cloned sheep.  That is not the Dolly in this show, although those first two may have a moment or 12.  But I assure you, no sheep, but there are some scantily clad butterflies at one point.  No, here we’re in a magical land that’s home to the elusive Golden Tassels.  The tassels are the most fabulous objects in the world and will grant the wearer untold power.  So obviously the evil Burnidocious Mephistopheles Satania III (Jonathan Betchtel) is determined to get them and has forced his workers to dig for them for years.  Enter the most glorious one herself, Dolly (Jasmine Jean Sim), who is so fabulous she doesn’t need the tassels. And she’s determined to teach Burnie a lesson or two and free his workers to sing and dance.

The story from Chris Pink and Jonathan Betchtel may seem slight, but honestly, it’s one of my favorites of their fables and certainly one of the best in fitting with the little bit country and little bit rock and roll tunes they’ve curated for the show.  It’s not all songs from that certain iconic country singer but there are certainly a lot.  And who doesn’t want that?

And with the usual incredible choreography from Fae Pink, scintillating lights from Robbie Matos, and outstanding digital backdrops from Vicente T Capala III, the show already shines.  But I must call out the costumes from Shadou Mintrone.  Her pieces are always amazing, but I think she’s outdone herself.  All I know is my theater companion kept commenting, “Oooooh, I want that one too!”

Betchtel is, as usual, the host with the most, but also has a somewhat more immersive character in this one as the demon Burnie.  But as evil as he is here, he’s still hysterical and sexy as hell.  Especially when coupled with Mintone as their sultry duets are always high points.

Tori Gresham is back to lend her seductive vocals and hilarity and now she’s joined by newcomer (at least to me) Antonio Mitchell, who’s pecs are only rivaled by his killer pipes.  And, of course, rounding out the workers longing to be free we have one of my favorites, Travis Guerin whose infectious exuberance and undulating hips keep the show hopping.

But it’s Sim who once again blows us all away.  In that wig she certainly looks like that other iconic Dolly, and she certainly has the … um … attributes to match.  And with a more fleshed out character here as well, she gets to show off her amazing acting chops (I still remember her in “Les Liaisons Dangereuses” before she came to The Can Can).  But it’s that voice.  Oh, that voice!  Sim sells a song like no one and when she walks about in a slinky dress at the end, well, just hold on. 

So yes, they’ve done it again, again.  They just keep topping themselves.  And so, with my three-letter rating system, I give “Dolly!” at The Can Can a Yee Haw of a YAY+.  Don’t miss this one!

“Dolly!” performs at The Can Can through September 1st.  For tickets or information visit them online at www.thecancan.com.

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