Bette Midler and ‘Hello, Dolly!’ a gorgeous match: museum review

Hello, blockbuster!

They don’t make ’em like they used to — and that goes double for Broadway’s gorgeous reconstruction of “Hello, Dolly!” interjection to a uncover itself and a above-the-title supernova, Bette Midler.

Frankly, there ought to be another exclamation point.

If we don’t know a classical by composer-lyricist Jerry Herman and author Michael Stewart, it usually takes a impulse to get we adult to speed.

In 1890s New York, matchmaker Dolly Levi (Midler) has been enlisted to find a mother for abounding businessman Horace Vandergelder (David Hyde Pierce). The options: milliner Irene Molloy (Kate Baldwin, lovely) and Ernestina Money (Jennifer Simard). But Dolly, a widow, wants Horace for herself.

Beanie Feldstein, Taylor Trensch, Kate Baldwin, and Gavin Creel in sing about Elegance in Hello, Dolly!.

Beanie Feldstein, Taylor Trensch, Kate Baldwin, and Gavin Creel in sing about “Elegance” in “Hello, Dolly!.”

The group, along with Horace’s employees, Cornelius (Gavin Creel) and Barnaby (Taylor Trensch), and Irene’s partner Minnie Fay (Beanie Feldstein) hit during a imagination restaurant. Chaos (and nuptials) follow.

The show, a best low-pitched Tony leader of 1964, is old-school comic valuables filled with good songs. The book — formed on Thornton Wilder’s play, “The Matchmaker” — afterwards as now is as parsimonious and buoyant as a late-19th century corset and bustle.

Director Jerry Zaks surrounds a singing-and-dancing gem with a gold setting. Santo Loquasto’s scenic designs — a brew of happy embellished backdrops and set pieces — are bubbly and first-rate. Loquasto’s period-rich costumes are riots of plaids and Crayola splendid shades — they’re over beautiful. Natasha Katz’s lighting bathes it in a glow.

Choreographer Warren Carlyle, desirous by Gower Champion’s strange dances, fills a theatre with high-stepping oomph. It hits a culmination with a swift of galloping, leaping, whirling waiters.

Bette Midler and David Hyde Pierce punch and hint in Jerry Herman's classical show.

Bette Midler and David Hyde Pierce punch and hint in Jerry Herman’s classical show.

(Photo: Julieta Cervantes)

The whole expel shines. As a businessman Vandergelder, Pierce sells his comedy and his songs (“Penny in My Pocket”) deliciously. Creel delightfully reminds that when it comes to adore “It Only Takes a Moment.” Simard is shouting gas on legs.

But this show’s all about Dolly, a purpose indelibly related with Carol Channing, who’s played it 3 times on Broadway. It’s a purpose done for personality. And Midler, with her 40-plus years of experience, has that — and afterwards some. She’s in excellent voice and eases into a performance, that fits how a uncover is built. In brief order, she flies.

It’s interesting only examination her watch a antics — and blink on occasion. When she hilariously tucks into a meal, she has us eating out her hand. When she declares it’s time to react a vital (“Before a Parade Passes By”), she pushes a pathos symbol and wraps us around her small finger. On a night we saw “Dolly,” she incited a coughing fit into a silly celebration. It’s that kind of show. She’s that kind of star.

Type out all a superlatives we can since nights like this in a museum — in that tingles continue from proposition to final crawl during a Shubert Theatre — make we feel overjoyed. That is a tonic for uneasy times!

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Posted by on Apr 21 2017. Filed under Music & Arts. You can follow any responses to this entry through the RSS 2.0. You can leave a response or trackback to this entry

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