Let's be
honest here, shall we? No matter how luxe the production, no matter how
talented the supporting cast and ensemble, Hello,
Dolly! rises and falls on its star. At the time, the role was synonymous
with Channing. And, really, no one did it quite like her. But while her
performance in 1966 was electrifying and grounded in truth, by 1977 and especially
by 1983, her performance had become broader, not quite a caricature, but
dangerously close to one. Only during her monologue that sets up "Before
the Parade Passes By," did one get a glimpse of the depth that Channing
could bring to the role. Don't get me wrong. She was marvelous, hysterically
funny, and ruled her stage with the authority and charisma of a true star. And
she never gave less than 100 percent. It just lacked subtlety. Not that the
audiences cared. They ate up every second of Channing and her show. While I
wish I could remember her fellow players, because both productions hosted some
terrific folks, I honestly can't because, when all is said and done, it was all
about Channing…for better or worse. I could have done without the
rehearsed-to-the-nth-degree-to-look-spontaneous curtain speech, but the
audience absolutely adored it. Channing could have given a master class in how
to play to your audiences!
In 1971, when
Pearlie Mae walked downstage and delivered Dolly's act one monologue, you could
hear a pin drop in the massive Auditorium Theatre. She was that good, that raw,
that honest. And with the assist of the legendary Cab Calloway, an outstanding
cast, and resplendent in all the glorious design trappings that made the
original so gorgeous, and with original impresario David Merrick as this tour's
producer, this was a Dolly! to
remember. Now, mind you, she was no more Dolly Levi than I am, but Pearl Bailey
was such fun, who really cared? I know I didn't. If repeating the entire title
tune seemed a bit much and self-serving, well, again, no one minded. Her return
to Chicago in 1975 was in a sparser production, still lovely to look it, still
populated with talented folks, but, in 1975, more than ever, it was Pearlie Mae
and not Dolly Gallagher Levi. But that inimitable voice, that razor-sharp
timing, that spark that only the greatest stars possess shone above everything
else. And when Pearl Bailey was onstage, all was right with the world.
GRANDMA MOSES: AN AMERICAN PRIMITIVE – Civic Theatre, Chicago
May, 1990. One's reaction to Stephen Pouliot's Grandma Moses: An American Primitive depended on one's expectations upon entering the Civic Theatre. If you were expecting a detailed portrait of Anna Mary Robertson Moses, aka Grandma Moses, you would have been disappointed. If, however, you were looking forward to seeing TV favorite and Academy Award winner Cloris Leachman live and in person, then you would have left the theatre happy and content. Grandma Moses was Leachman's show. Full stop. Grandma Moses was merely the vehicle. In the first act, Moses was 45 and getting ready to move house. In the second act, and after an impressive makeup change during the interval, Moses was 100 and spouting off cute-old-lady quips. The scenic design included rear projections of some of Moses' large body of work and that was very effective. It was the writing that fell flat. Perhaps that was not entirely author Pouliot's fault. Perhaps Grandma Moses just didn't have enough conflict or scandal or real drama in her life to make her story interesting enough for a stage portrayal. Everything was done professionally, and Leachman gave a polished and confident star-quality performance that elevated this minor entertainment. Praise also to hard-working Peter Thoemke, who played the men in her life in essentially a thankless job. Not nearly as involving as Julie Harris in The Belle of Amherst or Pat Carroll's stupendous Gertrude Stein, Gertrude Stein, Gertrude Stein or Robert Morse in Tru or most recently Valerie Harper in Looped (like Moses, essentially a one-woman show, but with two other characters occasionally popping in and out), Grandma Moses…, thanks to Leachman's towering triumph of skill over so-so material, was an entertaining evening. I even learned a little bit about Grandma Moses. – at the Civic Theatre, Chicago
Sidebar: Sadly, a bright and profitable future was not in the cards for the citizens of Arendelle. The reviews were mixed. It received no Tony love. And then as a final blow, Frozen became the first running Broadway show, i.e. one not in previews, to close as a result of the coronavirus pandemic. It played what would become its final performance on March 11, 2020. When producer Disney announced in May, 2020, that Frozen would not return once the theatres reopened, it was unexpected, but not especially surprising. The show was still doing well at the box-office, though not at the same levels as the other Disney Broadway shows, it was an expensive show to operate, and its chances of recouping its massive costs were doubtful. In commercial theatre, especially on Broadway, money is everything, and Disney made the fiscal call to close it and not risk losing even more on the property. Mean Girls recently announced that it would not return, though that show made its money back. I suspect there will be more closures before this is over. This horrible pandemic has decimated the industry.
September,
2018. A musical about the 1886 Chicago Haymarket massacre, a labor protest gone
horribly wrong? Does it sing? You bet it did! This was one of the best things I'd
ever seen in local Chicago non-Equity theatre. Definitely ranks in the top
five. Full stop. I can't say enough good things about it. It was truly
superlative in every aspect. And that cast!! Simply exquisite craftsmanship. Bravo,
all! – at Theater Wit, Chicago
END OF THE RAINBOW – Guthrie Theater (McGuire Proscenium Space), Minneapolis
Sidebar: Nominated for a Tony as Leading
Actress in a Play, Tracie Bennett, in a very strong field that included
Stockard Channing, Linda Lavin, and Cynthia Nixon, lost the award to Nina
Arianda for Venus in Fur. Arianda was
good in a disappointing play, but nowhere near Bennett's volcanic portrait of
Judy Garland. One of the Tony Awards' more puzzling wins.
DOWNSTATE – Steppenwolf Theatre, Chicago
October,
2018. There was a scene in the first act of Bruce Norris' timely, provocative
and unsettling new play, Downstate,
between Cecilia Noble, as a parole officer and Eddie Torres, as a convicted sex
offender, that literally took my breath away. It was that good. Seriously,
folks. That scene should have been filmed and shown to every acting class in
every school in the country. This is an important play, a play guaranteed to
make you think, a play that will make you squirm in your seat at times. You
see, what Norris does is humanize the men in the group home for sex offenders
located in downstate Illinois and challenges the audience to see these men as
more than just their convictions. And while one may believe that these men are
wired differently than most people, and that they suffer from a disease, it's
also true that these men are adults and made the choice to follow-through on
their desires. That makes Norris' characters simultaneously sympathetic and
horrifying. Glenn Davis' Gio, convicted of statutory rape and eligible to be
removed from the sex offender registry, was unabashedly unapologetic and
unwavering in his belief that he didn't do anything that wrong to warrant the
severity of his punishment. After all, he's a Level 1. Eddie Torres' Felix
tragically could not accept that his life is unalterably changed because he
raped his pre-teen daughter. K. Todd Freeman's bristling, defiant Dee brought a
disturbing electricity to every scene he was in, friendly and hospitable in one
moment, hostile and aggressive in the next. Francis Guinan's wheelchair-bound
Fred poured on the gentle charm, and then, suddenly, the charm was replaced
with a creepiness that revealed the man underneath the mask of repentance. The
production itself was void of any bells and whistles and Pam MacKinnon's
staging told the story simply and cleanly. In the play, Tim Hopper's memories
of his sexual abuse by Fred are attacked by Dee as not always truthful and not
as bad as Hopper remembered, giving the play a relevance to our society today,
where the survivors of sexual abuse are dismissed and mocked, while the accused
are believed without hesitation, and sometimes even rewarded with an
appointment to the Supreme Court. Recommended without hesitation. – at the
Steppenwolf Theatre, Chicago
HELLO, DOLLY!
Part 2: Dolly! in the 21st Century
- Milwaukee Theatre, Milwaukee
November,
2013. I wasn't expecting this at all. Sally Struthers, yes
weeping-save-the-children Sally Struthers, took this iconic part and made it
her own in a performance that was filled with humor, truth, good old-fashioned
human decency, and the kind of schtick that only a seasoned pro can do without
it seeming like, well, schtick. She sang it well, too. I was...impressed! This
bus-and-truck tour wasn't perfect and wasn't always first-class. The scenery,
modeled after the original Oliver Smith designs, was serviceable, but not luxe
enough. The Harmonia Gardens set was especially sad. The costumes were pretty, with
Dolly's costumes especially well done and which fitted the star perfectly.
Weakest was the dancing, especially the "Waiter's Gallop" which was,
as Bob put it, lame. But flaws and all, this production reminded me why I like Hello, Dolly! It's joyous; it's fun; it
has a terrific score. The cast was talented (big thumbs up to Lauren Blackman's
beautiful sung and acted Irene Molloy) and sang the score well, accompanied by
a really decent 8-piece pit band. Calling itself the 50th anniversary
production, this was a seven-month tour that played one and two night stands in
smaller markets across the country. Dolly!
played two nights in Milwaukee, and then immediately went to Fort Wayne for a
single performance. That was a lot of schlepping for its 66-year-old star. We're
talking old school. Brava! – at the Milwaukee Theatre, Milwaukee
April,
2017. Bette Midler. Hello, Dolly!
Anticipation was monumental; tickets near impossible to get. How would Bette
do, at age 72, and after being away from a Broadway musical for decades, in a
demanding role? And, truthfully, did it much matter. After all this was The
Divine Miss M. Her entrance applause was deafening, but that was nothing
compared to the standing ovation following the title number. It brought the
show to a complete standstill, and for a moment, all was right in the world.
For you see, Hello, Dolly! is
theatrical comfort food. And this loving revival was all warm and fuzzy and
wonderful. Midler made Dolly her own, though it was damn near impossible to
determine where Bette Midler ended and Dolly Levi began. And no one cared. David Hyde Pierce was a superb Vandergelder.
Kate Baldwin's lush "Ribbons Down My Back" was the best I've heard. And
with superb performances by Gavin Creel, Taylor Trensch, Beanie Feldstein, and
a terrific supporting cast and ensemble, well, I smiled from the overture to the
exit music. Welcome back, Dolly! It's so nice to have you back where you
belong. – at the Shubert Theatre, New York
May, 2018.
At the risk of committing heresy, I preferred Bernadette Peters and company
over Bette Midler. Don't get me wrong. Midler was amazing, but Peters brought a warmth, a vulnerability to the role that was missing from Midler's take on the
role, and displayed some pretty awesome comic chops. Plus she sang it better
than Bette. Of course it didn't hurt being in the second row center where
everything was up close and personal. Victor Garber was wonderful. Gavin Creel
and Kate Baldwin continued to be terrific. Charlie Stemp, the new Barnaby, was as
cute as the proverbial button. Overall, everything just seemed brighter,
fresher, and more fun. What a delightful way to spend a gloomy, chilly Saturday
afternoon in New York. – at the Shubert Theatre, New York
October,
2018. As I mentioned earlier, in my opinion, the success of "Hello,
Dolly!" depends on its leading lady's performance. But more on Betty
Buckley later. Let's first discuss that pitifully lame excuse for a runway on
the Oriental stage. Prior to Sunday's performance, every production I'd seen of
"Hello, Dolly!," from 1966 at the Shubert onwards, except for the
Struthers bus-and-truck, has had a runway that encircled the orchestra pit.
Even when the show played at the monstrous Arie Crown, where the pit is roughly
the size of a city block, the runway was there. But at the Oriental, the runway
was a pathetic one-step-up affair that may or may not have jutted a teeny-tiny
bit over the pit that made me wonder throughout the evening why all those hard-working
men and women were taking all these extra steps when they could just cross
downstage and be done with it. The lack of a true runway was especially missed
in the title tune. "Hello, Dolly!," the song, needs three elements
for it to be a showstopper: the staircase, the red dress, and the runway. If
you omit any one of them, "Hello, Dolly!," the song, becomes just
another banal Jerry Herman title song for his Big Diva Musicals. (Case in
point, Barbra Streisand's unfortunate gold dress in the movie version made the
title tune a big "no" in an already awful film. And understand, I
like Jerry Herman; just not a fan of his Big Diva Musical title tunes that go
on for far too long.) At the Oriental, the runway was there, sort of, but who
gets excited about waiters jumping over, well, nothing? I'm sure this didn't
matter a whit to the audience at large, and the number was done extremely well,
but… For the most part, time has been good to Dolly!, but the Harmonia Gardens book scene going back and forth
between the private dining rooms needs some judicious pruning, especially
vis-Ã -vis Vandergelder and Ernestina, which, in 2018 seemed a bit tone-deaf,
and, in this production, frequently bordered on painful to watch and was not
terribly funny to boot. Overall the show itself seemed broader than when we saw
this revival in New York, almost as though everyone was compensating for the
vastness and lack of intimacy of the Oriental. Lewis J. Stadlen was an
exquisite Vandergelder, all bluster with perfect comic timing. I was simply mad
about Nic Rouleau as Cornelius and Jess LeProtto as Barnaby (and let me tell
you, that boy can dance!). Kristin Hahn was adorable as Minnie Fay. While
Analisa Leaming hit all the vocal notes as Irene Molloy, I missed Kate
Baldwin's warmth and lustrous way with a melody. Leaming's performance itself
was silly, bordering on juvenile, and just seemed too broad for Mrs. Molloy.
She was my least favorite among the principals. But what about Betty Buckley,
you ask? Well, she was fine. Too old for the part by twenty or thirty years,
but so were Bette Midler and Bernadette Peters. (By comparison, originator
Carol Channing was 43 when she first put on the iconic red dress.) You could
tell she was working very hard to put the material across. She's not noted for
her comic skills, and, as such, she was perhaps not an ideal candidate for the
role. She was clearly winded during "I Put My Hand In," her top
register is pretty much non-existent now, lines were flubbed now and again, and
there were times when she pushed just too hard, the smile just too broad, the
effort to please just too much. Now, give Buckley a Dolly monologue, and she
ran with it. This was the best-acted Dolly I've seen since Carol Channing in
1966. She did a surprisingly terrific job during her eating scene at the
Harmonia Gardens, and her version of "So Long, Dearie" was pretty
damn wonderful, but, when all is said and done, she doesn't appear to be
entirely comfortable in the role, and I wonder if she ever will be. If I just
closed my eyes, her vocal qualities reminded me of Mary Martin in Martin's
later years. Interesting, since both are from Texas. Buckley is a star in every
sense of the word, and the audience clearly loved her, so, really, that's all
that matters. It was well worth a trip to the Oriental. Just pretend there's a
real runway in place. – at the Oriental Theatre, Chicago
Sidebar: Hello,
Dolly! had its world
premiere in 1963 at Detroit's Fisher. In the 60s and 70s, Detroit was a major
tryout town, with many shows, primarily musicals, starting their roads to
Broadway at the Fisher. It's long been on my bucket list of theatres to visit.
Delighted to have been able to check if off my list.
© 2021 Jeffrey Geddes
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