And then there was Hello, Dolly. I'll talk more in the notes, but let me just say that in fifty-something years of theatergoing it was the single worst professional production of a classic musical comedy that I have ever seen. I don't mind a director having a "concept" - in this case a stripped down Dolly with no sets that basically takes place in a train station with the luggage carts moving around to become tables and the hat store and like that. In fact, without changing that part of it, I could stage a fun Dolly on that set - one that would use it cleverly and make it work. If you like brown, this is the production for you. Everything is brown - sets, costumes - it's like you're watching Hello, Dolly by Anton Chekov. Everything is lifeless and dreary and there's simply no joy. The director states he's trying to play the text, to get to the heart of Dolly, but he's doing the opposite - he simply does not have the tools to deliver. And if you're going to forego Gower Champion's brilliant choreography, you'd better have something damn good to replace it. Gower was one of the greats at dance as storytelling - here we get steps (not interesting steps) and that's it. Twice the choreographer paid homage and gave us Gower moves and they were the only moves in the show that worked. Funny that. A cast of around seventeen including a six-person ensemble. Not the Dolly I want. The title song is performed by Dolly and four boys. They do roll out a big carpet for her entrance - I thought, finally some red, but alas, it was beige. The poor actors are left hung out to dry, especially the talented Nancy Opel, who is so much better than she's being allowed here. Either her director encouraged a performance without energy (real) or her director didn't do what he needed to do to GET the energy.
