Review: HELLO, DOLLY! at Music Theatre Wichita

HELLO, DOLLY! At Music Theatre Wichita

In the words of character Barnaby Tucker, “Holy Cabooses!” is the perfect way to describe Music Theatre Wichita’s season opener, Hello, Dolly!.   This golden age, 1964 classic is the fifth time MTW has produced it, and it once again wowed Wichita audiences.  It’s tremendously lavish, complete with a steam engine train, a horse-drawn carriage, and a chorus of dancing waiters bearing skewers of food and towering trays of champagne glasses.  It’s a joy to watch!

Under the helm of director/choreographer Eric Sciotto, Music Theatre Wichita’s glorious revival of the musical, with lyrics and music by Jerry Herman and book by Michael Stewart, confirms that the show is the most beloved musical comedy of all time.  And to have Laura Bergquist back conducting was magnificent.

Dolly Levi is a matchmaking widow and general fixer of everything who is living on her wits in muddled turn-of-the-century Yonkers, NY. In the current MTW production, she’s infused with a sense of restless drive and bubbling mischievousness by actress Christine Pedi. (Note: Incidentally, Pedi hails from Yonkers.)  Dolly has been assigned to find the perfect wife for the penny-pinching Scrooge-like Hay & Feed store owner, Horace Vandergelder (John Scherer), although she wants him for her own.  Along the way, Dolly arranges an elopement for Vandergelder’s constant sobbing niece, Ermengarde (Luz Tellus), to artist Ambrose Kemper (Andy Bakun), and sends Vandergelder’s overworked store clerks, Cornelius Hackl (played by WSU’s Jacob McGlaun) and Barnaby Tucker (Arick Brooks) on a big city adventure, where they woo two sophisticated ladies, the hat shop owner and widow, Irene Molloy (Cassie Austin) and her young assistant, Minnie Fay (Gabi Bradley).

Pedi indeed leads her cast with gentle ease.  Her vocals, her comedic timing, and wit are spot on.  Scherer is absolutely brilliant as the smugly self-assured Vandergelder, who is no match whatsoever for the spirited and determined Dolly.  Pedi and Scherer are quite the team.

McGlaun’s Cornelius sets hearts soaring with his magnificent romantic crooning, especially in “It Only Takes a Moment,” while Brooks’ eager young Barnaby was one character I could never take my eyes off.  His antics were charming and fun.  Tellus is a total scene stealer as Vandergelder’s high-strung and constant whining niece. 

Director Sciotto’s production was kept constantly moving forward, with his appropriately high-spirited and dreamy choreography and Bruce Brockman’s set design.  Shannon Regnier’s costumes were amazing and well fit the time period. 

Dolly’s renewed purpose to seize life and Raise the Roof is literalized exquisitely in “Before the Parade Passes By,” but my undisputed favorite highlight of the show is always the spirited Waiter’s Gallop,  an exceptionally well-choreographed number performed by Timothy Robu as Rudolph and his fleet-footed ensemble of waiters. Robu never fails to entertain, and he makes us laugh several times in this scene.

This leads into the big title number, which sees Dolly make her grand return to her friends at the Harmonia Gardens. Actress Pedi descended the giant staircase like a shining star in a tall, feathered headdress and beautiful, sparkling, jeweled red gown.  The song climaxes with a huge kick line, yet it is also incredibly poignant as she is welcomed back by her beaus.  For musical theatre fans, scenes like these aren’t the pinnacle of musical theatre; they are the highest summit of all human accomplishment

The show even includes a profound message on social equality.  Dolly’s late husband, Ephraim, believed in spreading money around, encouraging young things to grow.  Dolly planned on spreading Vandergelder’s fortune and watching the young to succeed.  May we all be like Dolly.

Next up at Music Theatre Wichita:  ELF THE MUSICAL, July 8 – 12 at Century II