| As someone who genuinely dislikes the show... | |
| Posted by: GrumpyMorningBoy 12:24 pm EST 11/25/17 | |
| In reply to: Hello Dolly Wednesday matinee - RufusRed 10:22 am EST 11/25/17 | |
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| As someone who genuinely dislikes the show... I agree with what RufusRed has posted here. I finally caught a performance a few weeks back, and it's an honest-to-goodness fantastic production on all fronts. The production fully OWNS what it is, unabashed, with a consistent willingness to ham it up, old Broadway style, to get a laugh. The script demands that the cast breaks the 4th wall at regular intervals, and the performers follow that style in the best, brightest ways. I've never been a big fan of the show itself, even after being paid to perform it eight times a week. But holy buckets, that protagonist is sympathetic, and you can't keep yourself from rooting for her. Hats off to Thornton Wilder, really, but what's a more heart-tugging storyline than a woman who loved, lost, has spent years helping others find love, and is now ready to re-discover love for herself? Such a great setup. That said, the one area where this production -- and nearly all productions, I imagine -- easily fails is in this: it's hard to see any real moment when Dolly and Horace break through their bluster and find a genuine heart-stopping moment of connection. I think it can be done at Harmonia Gardens if you're willing to stop the pacing and let that kind of moment happen; most directors aren't willing to let that happen. But the show surely doesn't need it. It's so entertaining that it isn't necessary. And Dolly's monologues to her dead husband are more than enough to ground it all in real emotion. In addition to your accolades for the leads, I've got to hand it to Gavin Creel (who earned that Tony handily) and Kate Baldwin, both in gorgeous voice, and both turning in polished musical comedy performances that remain true to the style of the era, while bringing a contemporary, fresh zing to their book scenes. From the launch of their careers, each of them has always wowed me with their training and their versatility (his at Michigan, hers at Northwestern). They have such a keen sense of musical theater history that they know when to serve up contemporary riffs in shows like HAIR, SONGBIRD or JOHN & JEN -- or on their own recordings -- but maintain beautifully tasteful-period vocal choices on a score like this. Their acting wowed me, too -- both of them USED the dramatic thrust of the scene to carry them right into the transition to song on "Put On your Sunday Clothes" and "Ribbons Down My Back." This is an area where Jerry Zaks always shines; his direction carries actors from spoken word into song nearly invisibly. On a show like this, those transitions matter enormously. I saw Donna Murphy, but may go back to see Bette if time allows. Ms. Murphy was perfect, really. I'm not a huge fan of the show itself. But this production was charming and delightful. It deserves to run for years. - GMB |
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