Hello, Dolly! | The Muny

While I may not have appreciated the lead role, the rest of the performances, combined with the excellent technical aspects, earn a “should see” rating.

The Muny wraps up its 96^th annual season with the legendary musical, “Hello, Dolly!” Let that sink in for a moment—the 96^th annual season. The Muny is an institution to St. Louis as much as “Hello, Dolly!” is to musical theater itself. It has been a hot second since I have been to The Muny. I had forgotten how much charm the theater holds.

I had forgotten that before each performance the crowd sings “The Star Spangled Banner.” I had also forgotten how The Muny uses a live orchestra. I personally enjoy live music, and I really enjoy how the conductor “dances” along with the music. As far as weather goes, despite the early threat of rainclouds, the weather was very comfortable with a slight breeze which is odd for a St. Louis August.

Set at the turn of the 20^th century, the story revolves around Dolly Gallagher Levi. She has set her sights on marrying Horace Vandergelder, but he is already involved with another woman, Irene Molloy. Mr. Vandergelder is a prominent businessman who employs Cornelius Hackl and Barnaby Tucker, both who have their sights set on kissing a woman for the first time. Dolly uses her social manipulation skills to move the right people together which, in turn, allows her to achieve her ultimate goal.

Tony award-winning actress, Beth Leavel tackles the title role of Mrs. Dolly Gallagher Levi. While I can appreciate Leavel’s attempt to put her own stamp on the legendary role, I just couldn’t get on board with her performance. I felt as if she was coming off too manipulative and lacked vulnerability. The only time I felt any emotional realness was during her monologues when she was talking to her deceased husband, Ephram. I will say this: I did enjoy Leavel’s performance more in the second act. Maybe it was due to opening night excitement, but something in her performance seemed to click in the second act.

John O’Hurley is cast as Horace Vandergelder. You will instantly recognize O’Hurley from his memorable role as J. Peterman from Seinfeld. To reduce this man to that one role would be an injustice. He is also a best-selling author, composer, and an advertising “hero.” Reading his bio in the program was compelling. Every fact I learned about the man was amazing.

O’Hurley’s comedic timing combined with his stage appeal allowed him to nearly steal the show. He commanded the stage with his booming, yet undeniably unique voice. His performance was memorable and extremely enjoyable. Casting him in this role was a stroke of genius.

Both Rob McClure and Jay Armstrong Johnson turned in top notch performances as Cornelius Hackl, and Barnaby Tucker, respectively. These two fine actors brought the funny as they served as the main sources for physical comedy. Both actors seemed to work in perfect unison. I was particularly impressed with McClure’s vocal ability. He did an excellent job on “It Only Takes a Moment,” which is one of my favorite songs of the entire production.

Mamie Parris played Irene Molloy. I thoroughly enjoyed her performance as she gave her role a sense of class and grace. The best way I can describe her vocal performance is captivating—I could listen to this woman sing all day.

Rounding out the notable performances is Eloise Kropp as Minnie Fay. Dripping with stage charisma Kropp charmed the audience with her unique voice. What I like most about Kropp is her ability to know when to turn her charm on and when to blend into the background. I know that may sound like an odd compliment, but to me, that is the mark of an excellent actor.

While these were the standout performances to me, the entire ensemble cast deserves to be noted as well. This is a huge cast, and they all worked well with one another and moved on and off stage smoothly.

Scenic Director Michael Schweikardt did an outstanding job. Each set was eye catching and worked brilliantly. I often caught myself noticing the small details of each set and was impressed how one moved right into the next seamlessly.

There was one gaffe during the number “Dancing,” where there were four light posts on stage and one of them randomly blinked off and on which was distracting. But other than that, I really respected what Schweikardt accomplished.

Choreographer Ralph Perkins also deserves congratulations for a job well done. I was particularly impressed with, “Put on Your Sunday Clothes,” “Dancing’” “Before the Parade Passes By,” and “Hello, Dolly!” The only place I felt needs some tightening up is during “Waiter’s Gallop.” This is a dance focused number and just a few times the synchronicity was off just a half beat. Overall, Perkins did an inspiring job.

The weakest aspect of the technical side were some of the costumes. While Amy Clark did a respectable job clothing this large cast, the black and silver dress Dolly first appears in left me puzzled. It felt monotonous which is not a word I would use to describe Dolly Levi.

Overall, I did enjoy this production of “Hello, Dolly!” This is a fine way for The Muny to close out its 96^th season. This show is a crowd pleaser, and the crowd I was with seemed to enjoy every moment of this production. While I may not have appreciated the lead role, the rest of the performances, combined with the excellent technical aspects, earn a “should see” rating. | Jim Ryan

You can follow me on Twitter @ReviewerJim.

“Hello Dolly” runs at The Muny through August 17. For ticket information, visit www.muny.org.

Photos: Sarah Conrad