Review: HELLO, DOLLY! at Ouachita Baptist University Jones Performing Arts Center

Before the internet — and even before the days when you could dial up a hotline and hear a stranger describe their dream date — finding love meant doing something truly daring: talking to people face to face! Yes, it’s true! Back in the day, if you wanted to find your perfect match, you might just call on a professional matchmaker — and that charming tradition sets the stage for the timeless musical Hello, Dolly! 

With music and lyrics by the legendary Jerry Herman, a book by Michael Stewart, and based on Thornton Wilder’s delightful play The Matchmaker, this production — staged at Ouachita Baptist University from April 10–13 — dazzled under the direction of John Forkner, with spirited musical direction by Dr. Ian Aipperspach and sparkling choreography by Moriah Patterson. 

At the heart of the story is Dolly Gallagher Levi (Amaya Hardin), the ultimate fixer, friend, and matchmaker — who just might be ready to arrange a little happiness for herself this time around. Enter Horace Vandergelder (Mac Ricks), a rich store owner who’s looking for a wife — mostly to cook, clean, and, according to the song, "clean out the drain in the sink." Horace thinks he’s got it all figured out and has his eye on Irene Molloy (Jayne Pecena), one of Dolly’s clients. But when Dolly bumps into Cornelius Hackl (Brooks Harrison) and Barnaby Tucker (Tom Huston), two lovable clerks with big dreams, she cooks up a new plan: match Cornelius and Barnaby with Irene and her assistant, Minnie Fay (Genevieve Cooper), instead. 

Meanwhile, Horace’s poor niece, Ermengarde (Virginia Waterman), is practically crying a river because her uncle won’t let her marry her true love, Ambrose Kemper (Nathan Price). Dolly promises to sort out all the lovebirds — with a little help from her glamorous friend Ernestina (Kailey May) and some very lively restaurant staff. 

Now, before I gush about this cast and the toe-tapping score, I have to take a moment to brag on the costumes. Y’all… if you’re looking for a masterclass in theatrical costuming, this is it. Period. Guided by the amazing Dr. Candace Aipperspach, the attention to detail is unreal — from the perfectly puffed sleeves to the era-appropriate hats, down to the buttons you didn’t even realize you needed to notice. 

Every outfit feels like it stepped right out of a vintage photograph. Dolly’s dresses alone could fill a fashion museum exhibit! And the ensemble? They don’t just wear costumes… they wear characters. The wardrobe practically tells its own story before anyone even opens their mouth.  

Amaya Hardin is by far my favorite Dolly Gallagher Levi I have seen thus far. Her personality bursts onto the stage the moment she steps into the spotlight — vibrant, witty, and absolutely magnetic. She doesn’t just play Dolly; she becomes her, with a twinkle in her eye and a knowing smile that makes you feel like you’re in on every clever scheme she’s cooking up. 

Hardin’s comedic timing is razor-sharp, landing every joke with ease, and her warmth radiates so naturally that you can’t help but root for her from the very first note. Vocally, she’s a powerhouse, delivering Dolly’s iconic songs with a rich, full voice that fills the theater and leaves you grinning from ear to ear. Whether she’s orchestrating a romantic rendezvous or sneaking in a sly aside to the audience, Amaya Hardin commands the stage with the poise of a seasoned star. 

Brooks Harrison and Tom Huston as Cornelius and Barnaby had me absolutely in stitches, and their physical comedy felt like it leapt right out of a storybook. Every stumble, sidestep, and wide-eyed gasp was a little piece of magic. Their friendship was as charming as it was hilarious, and you could almost see the sparkles twinkling above their heads every time a plan went wildly, wonderfully wrong. Simply put: Cornelius and Barnaby were the heartbeat of the show’s laughter, and Harrison and Huston made sure you loved every second of their runaway journey. 

Keeping up with Cornelius and Barnaby were Jayne Pecena as Irene Molloy and Genevieve Cooper as Minnie Fay. Pecena’s Irene was the picture of grace and intelligence — the kind of woman who could spot trouble a mile away but still step right into the adventure with a knowing smile. Her voice floated effortlessly through her songs, wrapping the audience in warmth and elegance. Meanwhile, Cooper’s Minnie Fay was an absolute delight, bubbling over with youthful excitement and quick, clever quips that kept the energy sparkling. 

Playing the very serious Horace Vandergelder was the super talented Mack Ricks, who brought just the right mix of gruffness and humor to the role. With a furrowed brow and a voice full of no-nonsense authority, Ricks handled the shenanigans with a masterful deadpan that only made the madness funnier. His Horace was a lovable curmudgeon that was an absolute joy to watch. 

As always, I love the live orchestra. The music program at OBU is top rate, which was proven during Hello, Dolly. Dr. Ian Aipperspach and his musical team created pure magic from the very first note. The moment the overture began, it felt like the theater itself took a deep breath and came alive. The orchestra was the heartbeat of the show — sweeping us into Dolly’s bustling world with lively marches, swooning ballads, and playful bursts of sound that made every scene shimmer just a little brighter.  

I know for a fact that graduates of OBU’s Theatre and Music Departments go on to do wonderful things — both onstage and off — and after seeing this production, it’s easy to see why. There’s a spark that runs through everything they do: a fearless joy in telling stories, a deep respect for the craft, and a sense of teamwork that makes every moment shine just a little brighter. I can't wait to see where their talents take them next, but for now, I’m just grateful we get to be part of their story. 

If you are interested in taking your educational experience to the next level, check out their website at https://www.obu.edu/finearts. 

Arkansas Awards - Live Stats

Best Musical - Top 3

1. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.6% of votes

2. THE WIZARD OF OZ (Arts One Presents)

12.4% of votes

3. SHREK (The Pocket Theater)

10% of votes

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