Good old-fashioned razzmatazz gleams brighter than ever
8 / 10
Director Dominic Cooke’s production is a lean mean entertainment machine – each half is a tight hour (a refreshing contrast to the more lumbering Barbra Streisand-starring 1969 movie version), kept moving by Rae Smith’s projection-filled set design and Bill Deamer’s appropriately high-spirited choreography. And although the show’s farcical climax in a hat shop feels less like a tight physical comedy set piece and more like a tipsy game of musical chairs, its larky approach can tumble away when required. When Staunton sits alone by lamplight to sing “Love, Look in My Window”, the whole story is illuminated by this insight into Dolly’s hidden loneliness.
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