Hello, Dolly!
By Kathryn Lynch
Hello, Dolly! It’s so nice to have you back…
When Barbara Streisand epitomised the character of Dolly Levi in the
1969 film version of Broadway hit Hello, Dolly! she
left some very big shoes to fill.
Melbourne’s finest youth theatre company, the Amateur Repertory Company
(ARC) have taken on the musical theatre classic as a challenge and last
night opened with style and elegance under the Direction of
first-timer, Steven
Valeri.
On a cold and rainy night, it was pleasing to see the audience had not
been put off dressing up for the Gala opening night at Banyule Theatre.
And ARC did not disappoint, leaving the crowd buzzing during and after
the show about the high calibre of the young performers and the
professionalism of the whole production.
For those unfamiliar with the iconic production, the story was
originally based on The
Matchmaker by Thornton Wilder and the 1964 Broadway
production scored 10 Tony Awards.
Hello,
Dolly! presents the story of Dolly Gallagher Levi (played
by Jaclyn De Vincentis), a matchmaker who has been hired to arrange a
marriage for the widowed half-millionaire Horace Vandergelder (Robert
Clark).
She is also a widow and has her own plans about who should be the new
Mrs. Vandergelder... none other than Dolly Levi herself!
So begins a tale of meddling and matchmaking as Dolly works her magic
on Horace and assists a few other young romances along the way,
arranging the important things in life – "like furniture, daffodils and
lives"!
The Artistic Team presented a simple yet sophisticated creative vision
that wiped a fresh glaze over the well-known production. The purple
"frilly" theme was evident from the programme to the set to the
costumes, everything sewn together and tied neatly in a pretty purple
bow!
The set design was simplistic but exquisite starting with the white
frill decorations on the proscenium arch and the floor and finishing
with the golden embroidered detail on the menus at Harmonia Gardens.
Set designer Mark Kearney created a wonderfully functional yet visually
pleasing set which was utilised well by the Director to create various
colourful atmospheres from Yonkers to New York.
The only thing missing in my eyes was the iconic large staircase for
Dolly’s grand entrance when she is welcomed back to Harmonia Garden’s.
But then again, Louis Armstrong was missing
too!
Marijke Franken’s choreography was intricate and reminiscent of some
key sequences from the film (directed by Gene Kelly). The musical lends
itself to plenty of old fashioned dance breaks and Franken certainly
made the most of them.
Standout sequences included "The Waiter’s Gallop", "Hello, Dolly!" and
"The Polka Contest", particularly due to the stunning aerial view
shapes created by the dancers and ensemble.
The slapstick style of "The Waiter’s Gallop" was entertaining and very
well timed to avoid any collisions.
The costumes were definitely a standout feature of the whole
production, each cast member requiring more than several costume
changes, each perfectly suited the individual.
Again the overall design was well matched to the era but also the set
and lighting design. The "Finale Ultimo" was a vision of purple puffy
sleeves, bowties, ribbons and feathers.
Tanya Aston and Louise Parsons should be commended for their eye for
detail and intricacies which really added to the overall elegance of
the show.
The performances of the young cast were all of a high standard but none
more so than Jaclyn De Vincentis who managed to create some Jimmy Choo
size shoes of her own (a considerable feat for only her second amateur
theatre company production).
De Vincentis’ Dolly was enchanting, charming and humorous. And her
voice had a beautiful balance of grace and gusto and her mischievous
grin was infectious.
The principle cast was well suited to each character in both appearance
and singing ability. Clark portrayed a considerably younger
Vandergelder than Walter Mattheu, however was very likeable for a ‘mean
old man’, his experience as a performer shining above the rest.
Harrison Wall took on the challenge of channelling Michael Crawford’s
famous Cornelius Hackl, creating a sufficiently awkward and charmingly
naïve store clerk. He was teamed by Anthony Economou as Barnaby Tucker
who was very comical and entertaining.
The supporting female roles of Irene Molloy and Minnie Fay (Michelle
Crupi and Rebecca Mignone) were enchanting, however didn’t have the
same chemistry as the boys. However, Mignone’s unintentionally
cluelessness was adorable and she stood out as one to always stay in
character even when the limelight was nowhere near her.
The ensemble completed the fashionable and stylish production with
flair and besides a few minor missteps executed the choreography with
poise and rough technique.
It is needless to say that ARC seems to be the perfect place for a
budding young performer to observe, learn and grow in a welcoming
community atmosphere. And the company can be sure that they are
certainly harnessing and moulding some bright stars amongst them.
The fresh young faces together with the seasoned ARC performers really
came together to create a vibrant and entertaining show which is sure
to be a hit in the local theatre community over the next few weeks.
Dolly Levi is definitely "still glowing… still crowing and going
strong!", so be sure to head on down to Banyule Theatre to what all the
fuss is about.
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