BWW Reviews: HELLO, DOLLY! at Ford's Theatre is Musical Heaven

Musical comedy might not cure all your aches and pains, but Hello, Dolly! will go a long way to put a smile on your face and a song in your heart.

Ford's Theatre and Signature Theatre have come together for a roof-raising revival of what might be the feel good musical of the year.

If you have never seen this musical adaptation of Thornton Wilder's comical play The Matchmaker, you can't miss starting with this production. Jerry Herman was at the top of his game with his score and lyrics, from the title song to the ensemble numbers. Herman was well-matched by the late Michael Stewart who knew how to fold dialogue from The Matchmaker into his farcical book for Hello, Dolly!

Conversely, if you saw this show eons ago - with or without Carol Channing - or only know it from the iffy film version, pick up the phone or switch over to the Ford's Theatre website and arrange for tickets now. You only have until May 18 and I imagine tickets will be at a premium very soon.

To view DC-Broadway World's gallery of photos for HELLO, DOLLY!, click here.

The designers, the music department, and especially the performers have brought their A-game to this production, helmed by Eric Schaeffer. His close collaborator Karma Camp, from Signature, also came on board to provide lighter-than-air choreography. Their close working relationship is evident in the seamless melding of clear story-telling in the book scenes and the kaleidoscopic dancing seen throughout the two hour performance.

Since Hello, Dolly! opens just as the title character is about to hit the rails to arrange a marriage for a prominent Yonkers businessman, set designer Adam Koch has transformed the stage into a ubiquitous period train station that allows for quick changes of scene from a feed store to a New York City millinery shop with just a shift of a hand cart and some rearranged boxes. One major change is in the HarmoniaGardens scene - where the waiters welcome Dolly back where she belongs - the staircase is gone, but it is not really missed. The lighting design by Colin K. Bills helps adds proper punctuation when required and lends a sepia-toned aura to the whole show.

If the scenic design hints at the 1890s setting, the costumes leave no sign of doubt the characters are living in time of elegance and style. Costume designer Wade Laboissonniere has outdone himself bringing to life the silhouettes of the Gibson Girl-era, with layers handsome fabric for the women's gowns, trim looks for the men and just the right accessories.

News of this production's new, trimmed down orchestrations are no cause for alarm: the arrangements fit the production with every jaunty note. As re-orchestrated by Kim Scharnberg, Jerry Herman's score sounds just as bubbly and brassy as ever, at least to my ears. As often occurs with Signature Theatre shows, the band is behind the action (here slightly hidden by the train station) and they provide strong support for the singers and never overshadow the performances. Musical director James Moore keeps the eight players clipping along with a crisp precision.

The direction, design, choreography and music all serve to allow the small but mighty ensemble of performers tell the simple yet engaging story of the world's most active busy-body, Mrs. Dolly Gallagher Levi, and her plot to wed Mr. Horace Vandergelder in short order. Sure, there is the requisite subplot of young lovers, but the show isn't called Hello, Dolly! for naught.

Starting with Ruth Gordon in the initial production of The Matchmaker, through the legendary Carol Channing's turn as the original musical Dolly, a steady stream of grande dames of the stage and screen have donned the fancy hats and frocks as the lead in Hello, Dolly! I am happy to report that Broadway veteran Nancy Opel is right where she belongs. Opel is glowing, crowing, and going strong as the widowed matchmaker who sets her sights on settling down with the successful yet crusty Vandergelder.

Opel has a long history as a singing-actress from her debut in her 20s as Evita, to more recent turns as Momma in Broadway's Memphis and the national tour of The Drowsy Chaperone. Taking on the titular role of Dolly, Opel brings an impish stage presence to Ford's Theatre and she handles her considerable duties with ease and charm. Whether she is bamboozling the crowd with the introductory "I Put My Hand In," or raising the roof with the show-stopping "Before the Parade Passes By," Dolly fits Opel like a well-tailored glove.

As her comic and romantic foil, Ed Gero finds sweetness in the barky Horace Vandergelder. Well known first as one of DC's finest classical actors, more recently, Gero has made a name for himself in more contemporary works, such as Nixon's Nixon. Adding to his annual stand as Ebenezer Scrooge (also at Ford's), he can add musical comedy leading man to his resume. As the role is written, Vandergelder offers only a handful of scenes, but Gero is excellent and has a winning chemistry with Opel.

Talent abounds in the supporting roles as well. As the eligible widow and hat shop owner Irene Malloy, Tracy Lynn Olivera once again displays why she is one of Washington's musical theatre gems. Her entrancing voice wraps itself around one of Jerry Herman's most beautiful ballads, "Ribbons Down My Back." As the juvenile lead Cornelius Hackl, another DC-stage staple Gregory Maheu also makes a strong impression and possesses a lyrical tenor voice, heard to great advantage in "It Only Takes a Moment."

Throughout their scenes and musical numbers, Olivera and Maheu each have perfect side-kicks, too, in Lauren Williams' Minnie Fae and Zack Colonna's Barnaby. Special mention also needs to be made of Horace's niece, the overly emotional Ermengarde, as played with comic genius by Carolyn Cole. You have to see it to believe it.

Another aspect of the show you really have to see to believe is the supporting ensemble of triple threats composed of only eight performers. They handle Camp's fleet-footed choreography, making it look both easy and intoxicating. Along with the principal characters, this reduced ensemble fits perfectly in the world Schaeffer and company have formed for this version of Hello, Dolly!

And what a world! Hello, Dolly! has the power to transport the audience to a very happy place. Let's call it musical theatre heaven.

HELLO, DOLLY!

March 15-May 18, 2013

At Ford's Theatre, 511 Tenth St, NW, Washington, DC20004

Joint production of Ford's Theatre and Signature Theatre

Book by Michael Stewart. Music and lyrics by Jerry Herman. Based on the play The Matchmaker by Thornton Wilder. Original production directed and choreographed by Gower Champion. Produced for the Broadway stage by David Merrick and Champion-Five Inc.

Music direction by James Moore. Choreographed by Karma Camp

Directed by Eric Schaeffer

Call 202.347-4833 or click here.

PHOTO CREDIT: Courtesy Ford's Theatre/Carol Rosegg

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