Hello, Dolly (in its long history) introduced the widow, Dolly Levi, to audiences in Thorton Wilder’s The Matchmaker. It’s first Broadway production featured the indomitable Ruth Gordon. Then Jerry Herman (Music and Lyrics) and Michael Stewart (Book) came along and adapted it to the musical stage. The script is virtually the same, with (of course) songs attached. Audiences have been bowled over by Dolly’s conviviality, shenanigans, cunning, and sheer chutzpah ever since: the woman who brokers romantic relationships. Among other skills.
As so many who have lost a loved one, Dolly has an ongoing conversation with her departed husband. When he was still on this side of the veil, they were all about the good times: nightclubs, sumptuous food, socializing, dancing. Now she must hustle to make ends meet, eager to help prospective customers, whatever their needs may be. Currently she’s assisting Horace Vandergelder in his search for a bride. Consistent with prevailing values of the age,
his ache for a wife amounts to free housekeeping (and presumably) lovemaking. Hence the musical number: “It takes a woman” sung by him and the rest of the male cast. Ironically, even a couple of actresses dressed as men.
As the play opens, Vandergelder is preparing for the journey from Yonkers to New York City. He’s leaving his two clerks: Barnaby and Cornelius, in charge. In a bold move, Cornelius declares he and Barnaby will lock up, sneak off, and taste the delectable fruit of hi-jinks and painting the town. Their mission? Kiss a girl and keep a date with the spectacular whale at the museum. Thanks to Vandergelder’s paltry wages, they don’t have a lot of spending money, but they’ll figure it out. Meanwhile, at a millinery in the Big Bad City, Irene and Minnie are yearning for adventures of their own.
Perhaps the perennial appeal of Hello, Dolly is Dolly herself, and the warm, compassionate music. It’s pretty clear Dolly is sometimes flying by the seat of her pants, but it doesn’t matter. She realizes that gumption and trusting her intuitions, will carry the day. She doesn’t overthink. Her charisma is undeniable. Her understanding of humanity’s strengths and flaws, blindspots and appetites, make her a natural. She perceives a need and provides the solution. It’s not till later in the show we get, that while she is making the best of things, the time for grieving is over. With her late husband’s permission, she will go forward.
Jerry Herman’s delightful songs capture the moment. Secular use for those fine Sunday clothes. An ode to love at first sight. A wistful reflection on what it means to court and spark. Dayna Dutton’s distinctive costuming, with its bright colors, spiffy three-piece suits and bustles gives us a feel for the times, and lifts our spirits. Victoria Anne Lee’s robust choreography is charming and poised. There is a sense of celebration in Lee’s versatile, often acrobatic dance numbers, romping or waltzing or kicking with glee.
Firehouse Theatre presents Hello Dolly, playing April 6th-23rd, 2023. 2535 Valley View Ln, Farmers Branch, TX, United States, Texas. (972) 620-3747. thefirehousetheatre.com