Hello, Dolly! - London Palladium Review
Imelda Staunton in Hello, Dolly. Photo by Manuel HarlanWritten by Roni for Theatre and Tonic.
To say the pandemic stole so much from so many would be a a understatement, not least for those working within the theatre industry. Many productions unfortunately did not survive the lockdowns, and the ripple effects of this are still being felt in 2024. However, the silver linings still remain. Hello, Dolly was one such show cruelly taken by Covid, with a revival originally scheduled for 2020 forced to be shelved. Now though, the show is finally back in the West End for the first time in 40 years, and it is hotly anticipated. Headed up by the icon that is Imelda Staunton, this is the hottest ticket in London this summer. Will it prove to be worth the wait?
Hello, Dolly follows the illustrious widow Dolly Levi, who acts a fixer for whatever problems one may have in life, but mainly dabbles in matchmaking. Her latest subject, ruthless businessman Horace Vandergelder, is suitably poised to propose to the recently widowed Irene Molloy, unknowing that Dolly is secretly scheming to marry him herself for his not-so-small fortune. Whilst two of Vandergelder’s hapless employees get to experience the big city for the first time, Dolly continues in her meddling to provide happy endings for her unlikely couples. Can she forge her own path to happiness too?
The first thing that must be mentioned is the production’s commitment to providing accessible tickets through their 16-30 pricing scheme. A prime stalls seat costing only £20 has given a breathtaking view, allowing a real appreciation of the beauty on that stage (more on this momentarily). After reading Imelda’s recent column where she firmly throws herself behind the notion of ensuring young people are not priced out of a love of the arts, this very much feels like talking the talk and walking the walk. Bravo.
There are not many revivals today that remain true to the original source material, and whilst this is not necessarily a negative – a modern world calls for modern retellings (and apparently, in theatre live streaming) – when the chance is taken to resurrect a classic show in all its finery, the results can be stunning. With Hello, Dolly, the proof is in the pudding. Very little has been changed, barring the inclusion of the opening number from the movie, and as such the production oozes old Hollywood ‘vibes’ from top to toe. The costuming is exquisite, with gorgeous standout colours making each one an individual attraction. The sets, whilst mostly basic until the eleventh hour scene, feel suitably simple so as not to detract. Numbers such as ‘Put on Your Sunday Clothes’ and ‘Before the Parade Passes By’ are nothing short of gorgeous – and the audience adores them. One small criticism here would be the somewhat obvious lacking in real plot development – something that is perhaps more stark in a world of complex storylines crammed into more series and movies than could ever be consumed. Thankfully, this doesn’t feel like it detracts from the show as a whole – and is possibly the only element of the production that falls slightly short.
The cast are, of course, sublime. Harry Hepple, Tyrone Huntley and Emily Lane are just lovely in their supporting principal roles, bringing a youthful naivety to contrast with the more experienced characters. Jenna Russell is a wonderful Irene, shining both in her own right and as she bounces off of her scene mates. Andy Nyman feels like a perfect choice for the Scrooge-like Vandergelder, though he is also more than capable of delivering the comedic and tender moments with ease. There can only really be one star of the show though, and that is inevitably the powerhouse that is Imelda Staunton. She manages to make Dolly her own while still captivating audiences with a long established character they know and love. Her vocals are classic, and she delivers the kind of precise comedic timing that is rarely seen successfully on stage (it appears that her years in television have provided a very effective transferable skill here). The standing ovations speak for themselves, and the titular number garners a thunderous response on multiple occasions. This feels like a role of a lifetime for Imelda, and her reception is thoroughly deserved.
This is a stunning piece that will genuinely bowl over everyone from young to old, something that seems increasingly less common. Brimming with old school glamour and a gorgeous classic score, it’s hard to see how anyone could not come out feeling nostalgic and a little bit lighter on their feet. It’s the perfect summer show, and should honestly be seen by whatever means necessary.
At London Palladium until 14 Sept.
☆ ☆ ☆ ☆ ☆
