The London Palladium, til 14 September 2024

⭐⭐⭐⭐

Beloved classic holds up as a thoroughly entertaining piece of old-school musical theatre.

A few months ago I gave a not-so-favourable review to a new adaptation of The Government Inspector at the Marylebone Theatre. I remarked that while there’s nothing wrong with a bit of slapstick comedy, there’s an art to getting it right. The Government Inspector didn’t quite manage that feat, but this excellent new run of beloved classic Hello, Dolly! shows just what’s possible in the realm of on-stage comedy. Add in a healthy dose of big-band show tunes, fantastic dancing and a charisma-loaded lead performance from a national treasure, and you’ve got a pretty fantastic musical on your hands. 

The eponymous Dolly is a widow in early 1900s New York, earning her crust through various fixing jobs, with a particular penchant for matchmaking. After years of grifting, she’s decided she’s ready to have a more comfortable life (and maybe a little love, as well). Her sights are set on the rich but curmudgeonly Horace Vandergelder, who is currently employing her to find him a wife. Dolly is sharp as a tack, charming and well-connected, and it’s a joy to see her machinations unfold over two acts. Caught up in her cockamamie scheme is not just the grumpy Mr Vandergelder but a full bevy of amusing side characters, such as a widowed hatmaker and her assistant, Dolly’s lovesick nephew, and Vandergelder’s downtrodden employees.

The London Palladium’s adaptation sees the much-adored Imelda Staunton take on the role once made famous on screen by Barbara Streisand. Though it feels like sacrilege to say it, I don’t think Staunton quite has the pipes of Streisand (though she is certainly more age-appropriate for the widow role Streisand ludicrously portrayed at 27). I don’t think this matters in the slightest. What Staunton brings to the role is bucketloads of winning charm, as well as brilliant comedic timing. Dolly is larger-than-life, and Staunton makes us love her all the more. 

There are two things that make Hello, Dolly! a very entertaining show, and comedy is definitely one of them. It’s very, very funny – a testament to the timelessness of the original book by Michael Stewart. Obviously Dolly herself and her madcap marriage scheme give rise to plenty of laughs, but the side characters bring their share of amusements as well – whether it’s the nosy milliner’s assistant or the bumbling employees constantly on the run from Vandergelder. Some of the comedy is pure slapstick: a particularly hilarious scene involves the shop assistants Hackl and Tucker desperately crawling around the hat shop and into the cupboard in an attempt to hide from the visiting Vandergelder. It’s a credit undoubtedly to the cast, with the leads getting laughs out of every line – Staunton is a commanding presence, Harry Hepple nails the physical comedy of Hackl and Andy Nyman dials the miserliness up to 11 as Vandergelder. Even those in minor roles shine in their short time on stage – I particularly enjoyed Jodie Jacobs as the hedonistic Ernestina, and Emily Langham as the young bride-to-be Ermengarde, who cries unintelligibly through every single scene. But of course as well as the cast, credit too must go to the brilliant comedic staging and direction from Dominic Cooke, who has pulled this all together as a fantastic ensemble comedy. 

The second thing that makes this show incredibly entertaining is the music. This is a proper, old-fashioned musical with a big-band sound, thanks to music and lyrics by Jerry Herman. There are several numbers that really bring the house down, performed by a talented and appropriately large chorus. And it’s not just good tunes – we get treated to some really exciting dance numbers (choreographed by Bill Deamer), notably the parade that ends act one and the leaping, velvet-jacketed waiters in the later dining scene. It’s also worth noting how much the sets and sumptuous costumes (both courtesy of Rae Smith, set and costume designer) add to the enjoyment of the show. There’s a strong sense of place in 1900s New York, with the feathered hats, high corsets and full skirts, all adding to the colour and movement on stage during the dance numbers. A treadmill-like moving belt across the centre of the stage is paired with a moving backdrop – an incredibly simple technique that very effectively conveys the hustle and bustle of the city. 

You would expect that a musical about a scheming widow written in the 60s, based on a farce from the 30s, might not hold up very well in the present day. And goodness knows I’ve written before about my disdain for all things romantic and sentimental. Admittedly, I don’t know what (if anything) has been updated for this adaptation. But I think what saves this musical from ever falling too far into sentimental sop is Dolly herself. She’s in charge of her own destiny, and it’s a joy to see Staunton bring that vivacity and humour to life. With laughs, an excellent cast, fantastic tunes and exciting dance numbers, this is a pretty textbook example of a great musical.