Review: HELLO DOLLY! at The White Theatre

“Hello, Dolly!” is a crown jewel of American Musical Theatre.  “Dolly” is a jubilant blend of romantic comedy, brassy optimism, and showstopping choreography.

Opening night for the White Theatre production of “Dolly” was so surprising and memorable that it earned itself a five-star rating from this reviewer and its audience writ large.

Every aspect of this production is outstanding.  Not a single seat for the remaining nine performances of “Dolly” deserves to remain unsold.

At the center, of course, is Dolly Gallagher Levi, the indomitable matchmaker who can fix anyone’s problems except her own. Sparkling as Dolly is Jennifer Renfrow.  Jennifer is one of the more courageous actors it has ever been my pleasure to watch on stage.

Jennifer has the vocal and the dancing chops as you might expect, but her ability to hold an audience without speaking is much more exceptional. Each stage movement and gesture is planned, practiced, and unhurried. There is one silent stretch (I won’t spoil it for you) where Jennifer holds the attention of the audience and everyone on stage for an extended period. This could be favorably compared to Lucille Ball’s pantomime on the chocolate company assembly line. 

 Whether played with brassy sparkle or gentle warmth, Dolly’s determination strikes a chord. “Hello Dolly” is classic musical comedy whose titular charismatic character meddles her way into everyone’s hearts amid the bustle of 1890s New York and Yonkers.

Renfrow’s “Dolly” compares favorably with Bernadette Peters' “Annie Get Yor Gun,” Tyne Daly’s Rose in “Gypsy,” Angela Lansbury’s “Mame,” or Sutton Foster’s Reno Sweeney “in Anything Goes.

Few musicals wear their hearts as boldly on their satin sleeves as “Hello, Dolly!” Jerry Herman’s 1964 classic remains a dazzling reminder of what Broadway once did best — big melodies, bigger personalities, and a story that celebrates life’s second chances.

Herman’s score remains irresistible, from the rousing “Put On Your Sunday Clothes” to the triumphant title number — one of musical theater’s great moments of pure joy. The book by Michael Stewart, adapted from Thornton Wilder’s The Matchmaker, mixes farce, romance, and old-fashioned optimism with the lightest of touches.

The leading lady is important, but what sets this production apart is consistency across the entire leading cast and the excellent ensemble. Doug Jones’ Grumpy, cheap Horace Vandergeller, Cody Kreutzer’s bumbling Cornelius, Nick Lynn’s romantic Barnaby, Liz Golson’s store owner Irene, and Ella Bentley’s irrepressible Minnie are all fine singers and stylistically in sync with Renfrow’s Dolly.  The dancing and production numbers are unusually crisp.

Visually, Dolly! demands a lavish, old-school production: sweeping staircases, bold colors, and crisp choreography that turns every entrance into a celebration. When done well, it’s impossible not to smile.  The Director, Chris McCoy, and the Choreographer, Ramsey Vance, keep the action moving, the feel consistent, and the pace unhurried without dragging out in any scene.  Music Director is Kevin Bogan with a fine fifteen piece pit orchestra.

The producers need to be recognized for their exceptional investment in both sets and costumes. The resources show and work to “Hello Dolly’s” immense credit.   

More than sixty years on, Hello, Dolly! is still Broadway’s grandest valentine — not just to love and adventure, but to the thrill of live theater itself. “Hello Dolly!” continues at The White Theatre on Thursdays, Saturdays, and Sundays through November 23.