Review: RICHARD SKIPPER CELEBRATES 'HELLO, DOLLY!' at Green Room 42 Is Full of History & Joy

The ever-bubbly entertainer Richard Skipper, whose love for the classic musical comedy Hello, Dolly! — and its original star, Carol Channing — knows no bounds, shared that enthusiasm with his audience at The Green Room 42 on December 27. It wasn’t his first time presiding as their cheery cheerleader (and it certainly won’t be the last), bringing in fellow fans and curious cabaret-goers to congregate so he can educate, communicate, jubilate, venerate, and — to use his favorite verb, celebrate the history of Hello, Dolly! There were songs, a little Q&A, filmed comments from numerous performers who’ve been in the many productions, plus anecdotes,  and analysis on this anniversary.  (The Green Room 42 event came on the anniversary of the original Broadway production of Hello, Dolly! leaving the Great White Way back in 1970 – after 2,844 performances.  Of course, there were revivals, tours, regional and international mountings to come, and a major motion picture.)  Wearing a big smile and a sparkly red jacket (the color of the costume Dolly wears descending the stairs to sing the title tune), chipper Mr. Skipper was the merriest man decked out in red since another  jovial gent came from the North Pole a few nights earlier. 

The audience was schooled on the long history of the show, from its roots (early non-musical plays with elements of the plot, but not a lot of Dolly, or even no Dolly at all) to the signing of the musical’s songwriter and star, through its re-shaping and revisions on the road to Broadway as well as its many later incarnations in the US and different nations over the decades, with another major London production this year, suggesting the last line of its title tune: “Dolly will never go away again!”  For those not accustomed to the lore and lure of musical theatre, there were instances when they could feel a bit left out, such as when real-life show biz folks were referred to by just their first names or quick comments were made about plot elements and characters.  Directed by James Beaman, and well researched, there was quite a bit of talk (scripted and otherwise; terse and otherwise; the most well-known facts and otherwise), with several of those swell songs (done full-length, full out, and otherwise).  The selections were accompanied by a talented trio of musicians, appearing in stylish formal wear and dressing up the show with skill: pianist Dan Pardo, bassist Matt Scharfglass, and drummer David Silliman.  

The fun-filled festivities began with our host strolling through the audience, singing “World, Take Me Back.” This is one of the numbers that the musical’s composer/lyricist, Jerry Herman wrote early on, having in mind the voice and verve of Ethel Merman, the belting Broadway star he and producer David Merrick wanted to play the lead in the show.  She turned them down and the song was put in the proverbial trunk, as it wasn’t suitable for Ms. Channing’s talents.  “World, Take Me Back” came back to the world of Broadway and 45 rpm vinyl records when Merman recorded it (and another in-limbo number, “Love, Look in My Window”) and sang them on stage when she finally agreed to take the role for the end of its record-breaking run.  The subject of the mighty Merman came up again (quite a bit) during Mr. Skipper’s longish chat with the special guest du jour, one of the seemingly countless people who’ve played Dolly  – dynamo Klea Blackhurst, who fulfilled her goal to take on the role at Goodspeed Opera House.  She is to Merman what he is to Channing: an extra-excited expert on a legendary performer and her most loyal, loving, longtime admirer.  Call it being inspired, call it being fascinated, or maybe call it being obsessed. (They do!)  During the relaxed program, the audience learned (or, in some cases, was reminded) how he began in his South Carolina schooldays doing impressions of stars, including Carol Channing, which turned into a full act, for years (with full costume, wig, and wit), and also finally met and befriended her.  Similarly, we heard about how a Merman-admiring adolescent named Klea Blackhurst in Salt Lake City, Utah immersed herself in show biz lore and cast albums, later moved to New York, and turned her fandom into a cabaret act that relishes the repertoire of her idol.  Miss B. and Mr. S. have also bonded over their high regard for Jerry Herman and his songs that suit their positivity and panache. All kindred spirits indeed!

Klea Blackhurst brought spunk, sass, and showstopping showmanship, singing the strutting “So Long, Dearie” to a fare-thee-well. With a twinkle in her eye and a few tricks up her sleeve, she got well-deserved sustained applause. You can imagine her being quite a dilly of a Dolly with her unflagging energy, joie de vivre, and wonderfully big voice.  And you can imagine that if someone asked her on the way out to don the Dolly dresses, ready for dress rehearsal on January 16 (the anniversary of the original production’s Broadway opening in 1964), she’d be pumped, prepared, and perfect.  

The musical that was originally titled Dolly, a Damned Exasperating Woman, directed and choreographed by Gower Champion has its own champion in ebullient Richard Skipper, keeping its legacy alive and well. 

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For more about this musical, see Richard Skipper’s info-packed website dedicated to it:  www.callondolly.com

Find more upcoming shows at The Green Room 42 on their website here.                               

Header photo credit: Ron Fassler.

Photo of Richard Skipper and Klea Blackhurst by Genevieve Rafter Keddy

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