(Above: Men in the Hello, Dolly! cast belt out It Takes a Woman during the first act of the perennially popular musical; photo by Paul Carter)
By Anne-Allegra Bennett
The Very Little Theatre may be small, but it’s putting on a mighty production of Hello, Dolly!, the 1964 musical inspired by Thornton Wilder’s 1955 hit play, The Matchmaker. The musical follows the “strong-willed matchmaker,” Mrs. Dolly Gallagher Levi (Sue Schroeder-White), as she travels to Yonkers, New York to find a match for that “well-known unmarried half-a-millionaire” Horace Vandergelder (Michael P.Watkins). With music and lyrics by Jerry Herman and a book by Michael Stewart, this endearing and timeless story that audiences have come to know and love over the years has origins in plays and farces dating back to the 19th century.
With its rich history in the theater (and as a 1969 film starring Barbra Streisand as Dolly and Walter Matthau as Horace), the VLT’s production has lived up to expectations, and Hello, Dolly! is an enjoyable outing for audiences of all ages. Director Gerald Walters has done an exceptional job in taking a show often known for its large production numbers and adjusting it to fit to the specifics of VLT’s Main Stage. Michael P. Watkins is the show’s choreographer in addition to his role as a performer, and he creatively utilized the individual strengths and talents of the performers as they waltzed around the sets designed by Michael Walker (also performing).
I have always loved Hello, Dolly!, and one aspect of the show that has stood out to me over the years is the fact that it never feels as if there are only a couple of leads being supported by everyone else. Rather, each character has its own distinct arc in furthering the story. The members of the ensemble play off each of the characters throughout the show, which connects the individual stories as a whole.
Josie Thomas (Irene Molloy) and Kenady Conforth (Minnie Fay) as the women who work in Irene’s millinery shop, and Cody Mendonca (Cornelius Hackl) and Sheldon Hall (Barnaby Tucker) as Horace’s hay and feed clerks are absolutely delightful in their roles. Often performing onstage together, the quartet adds playful humor to the show as they navigate New York while discovering that there’s a bigger world “out there” than they’d ever seen before.
Individually, each character has their own individual quirks that shape who they are, and combined this makes for great onstage chemistry that plays out throughout the show, and as a contrast to the personalities of Dolly and Horace. They are all very strong vocalists, and their voices blend together quite smoothly in great harmony. “Elegance,” a number in the second act, displays their wealth of talent as well-rounded performers. Josie’s rendition of “Ribbons Down My Back” showcases her vocal prowess and range beautifully in the first act. Cody singing “It Only Takes A Moment” in the second half gives his character of Cornelius a wonderful opportunity to show his personality, and is a key moment of the show and story. Kenady and Sheldon play the young assistants to Irene and Cornelius with wonderful energy, and you can’t help but smile at their innocence and excitement as they open their eyes to adventure.
Lily LaChapelle as Horace’s easily brought to tears niece Ermengarde, and Chad Lowe as her clumsy artist suitor Ambrose Kemper, add comedic moments to the show as they’re caught up in Dolly’s meddling to prove once and for all that they aren’t too young to get married and are truly in love. The two characters have such different personalities, which makes it all the more enjoyable in watching them come together.
Sue Schroeder-White as Dolly, and Michael P. Watkins as Horace, play off one another quite well, and they have some terrific comedic patter as they often remind one another that “you go your way, and I’ll go my way.” The vocals in their solos are some of the hardest in the show, but the strength of their acting and the over-the-top very different personalities of their characters makes it work in the moments that are more challenging to hit.
Kudos to them both for conquering two demanding roles and making for some dazzling entertainment at the theater. Schroeder-White’s rendition of “So Long Dearie,” and Watkins’ “It Takes A Woman” epitomize the eccentricities of their individual characters, and it made me appreciate them all the more.
Rebekah Hope as Ernestina Money gives a priceless performance as Dolly’s friend who is used as a ploy to confuse Horace, and she does not disappoint. Hello, Dolly! requires strong ensemble members with powerful voices, and the chorus numbers feature some of the most memorable songs from the show including Before The Parade Passes By, Put On Your Sunday Clothes, Hello Dolly, and the opening number of the show.
The ensemble brought the numbers to life, and it was great to see so much variety in their looks and the individuality they brought to the show, while also working in collaboration to make it all tie in together. Overall, it’s a wonderful show, and great entertainment for an afternoon or evening out at the theater in Eugene.
The production team behind the scenes also deserves recognition for making the show sail so smoothly. It’s nice to see that the arts are still alive and that people are able to experience great theater in venues of any size in any city. The Very Little Theatre may be in its 90th year, but it is still going strong.
Catch Hello, Dolly! through April 13th before they take their final bows.
When: 7:30 p.m. on Thursday-Saturday, April 4-6, 11-13; 2:00 p.m. on Sunday, April 7
Tickets: $25 adults, $21 students with ID and people 60 years and older, available at the box office, 541-344-7751, or online at TheVLT.com
