Review: HELLO DOLLY! at Ogunquit Playhouse
Putting On Our Sunday Clothes: Ogunquit Playhouse Sets a New Gold Standard with Hello, Dolly!
There’s a specific kind of grand-scale theatrical magic that few modern shows can pull off anymore. It requires massive energy, a sharp sense of comedic timing, and an absolute refusal to skimp on the spectacle. Thankfully, that old-school Broadway splendor is alive, well, and absolutely tearing up the stage at the Ogunquit Playhouse. Their current production of Hello, Dolly! doesn't just dust off a golden-age classic—it completely revitalizes it under the sharp, high-octane direction of Maggie Burrows.
Visually, the production is an absolute feast. David Arsenault’s scenic design seamlessly transports the audience from the dusty corners of Vandergelder’s Yonkers feed store to the bustling streets of late 19th-century New York and the opulent grandeur of the Harmonia Gardens Restaurant. Along the way, a life-sized cable car and train glide effortlessly across the stage, while a dynamic rotating set spins scenes seamlessly from one setting to another. That same spinning stage serves as the platform for a spectacular, mid show parade complete with precision walkers and a full marching band. It is, by far, the most magnificent set I have ever witnessed on the Ogunquit stage.
Leon Dobkowski’s costumes are equally breathtaking and vibrant, particularly the parade of period garb including Dolly’s show-stopping gowns.
The sensory experience doesn't stop with the visuals. The vocals and live orchestra felt extraordinarily vibrant during this performance. Whether it is a brand-new sound system or upgraded microphones, the audio quality possessed a crisp clarity unlike anything I have ever heard inside this historic venue. (Did anyone else notice this?) Even the front-of-house experience received a brilliant upgrade; a warm, extra layer of lighting bathed the audience as they entered, giving the entire theater a welcoming, golden glow.
But if you want to talk about true showstoppers, we must talk about choreographer William Carlos Angulo. The legendary "Dancing" number builds from one spectacle to the next with a powerful crescendo. Later, the famous "Waiters' Gallop" in the second act delivers a breathtaking explosion of acrobatics performed by a troupe of superhuman dancers. These aren't your typical musical theater dance numbers; this is a full-throttle explosion of movement. Paired with Matthew Deitchman’s vibrant music direction, the live orchestra pulls every single ounce of joy out of Jerry Herman’s iconic score.
At the absolute center of this romantic whirlwind is Tony Award winner Beth Leavel as the meddlesome, matchmaking socialite Dolly Gallagher Levi. Leavel is an incredible package of talent. Her comedic timing is flawless, her vocals are commanding, and her acting instincts are deeply genuine. What makes her performance so spectacular isn't just her brassy, fast-talking charisma; it’s the beautiful, quiet vulnerability she brings to the role, especially during the tender moments when she speaks directly to her late husband, Ephraim. By the time she belts out "Before the Parade Passes By," there isn't a doubt in the house that Leavel is firmly leading the march.
Playing opposite Leavel is Adam Heller as the curmudgeonly, tight-fisted "half-a-millionaire" Horace Vandergelder. In a delightful twist of real-life casting, Leavel and Heller are married, and that genuine, lived-in shorthand pays massive dividends on stage. Heller plays Horace’s blustering, chauvinistic stubbornness with a wonderful comedic touch, making his eventual softening feel entirely earned. His irritation at Dolly’s relentless, calculated scheming provides some of the funniest beats of the evening.
The secondary storylines, following the romantic awakenings of the younger generation, are populated by a truly powerhouse lineup of actors. Tony Award winner Matt Doyle plays Cornelius Hackl, the naive head clerk from Yonkers seeking a single day of adventure in New York City. Doyle infused Cornelius with an earnest, wide-eyed charm. His soaring tenor voice turns "Put On Your Sunday Clothes" into an absolute vocal highlight, and his rendition of "It Only Takes a Moment" serves as a saccharine-sweet, romantic show-ender. Beside him, Davey Fried plays a wonderfully nimble, hyper-energetic Barnaby Tucker, serving as the perfect physical comedy sidekick.
Tony Award winner Ruthie Ann Miles breathes an elegant, soulful life into the milliner Irene Molloy. Miles brings a sophisticated depth to "Ribbons Down My Back," as a fiercely independent spirit who could relish the thought of marrying once again. Susana Cordón makes a hilarious Ogunquit debut as the giggly, easily excitable Minnie Fay, matching Fried’s comedic energy beat for beat. Meanwhile, the young, forbidden lovers, Ambrose Kemper (Ryan Lambert) and Ermengarde (Emma Crow), fill the scenes with great physical comedy, youthful energy, and some seriously impressive dancing.
Ogunquit Playhouse has long held a reputation for delivering Broadway-caliber theater to the coast of Maine, and this production cements that legacy once again. It is a massive, warmhearted, beautifully executed romp that reminds us exactly why we fall in love with musical theater in the first place. Do not let this parade pass you by.
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