Hello, Dolly!--Bernadette Peters Brings New Dimensions to the Iconic Role

By Joseph Cervelli

Let’s face it. When Bette Midler appeared in “Hello, Dolly!” at the Shubert Theater last season she was the show. Actually, they could have, as many did, called it “Hello, Bette!” She was most definitely fun even with her constant mugging.   She was having a ball and so were we. She did not try to upstage any of the other performers but when she was off the stage you secretly waited for her return which brought back memories of her “Divine Miss M” shows. In “Dolly” she sang adequately, danced adequately and acted fair enough. But she had a presence and you went with it. The one thing she really was not and c’mon you know you have to admit it--was Dolly Gallagher Levi. I have seen other actresses portraying the role including Carol Channing and they all had their own style but were Mrs. Levi. Midler went through the motions but never captured Dolly.   

Now, we are truly back in musical comedy heaven with Bernadette Peters starring in the lead role. From seeing Peters in more shows than I can recall I wondered how but never doubted that she could pull off the comedic components as that incomparable matchmaker. We know that she can sing and still does quite well and can dance very well but she brings this quintessential charm and humor that feel  so innate. Of course, few of her many other roles required that, but she is hilarious here whether speaking in a slightly squeaky voice or making pinched faces without stepping out of character. She is accomplished enough knowing exactly when to pull in those reins and let the other actors get their share of laughter.  When she is off the stage you miss her but are in full engagement with those other characters. 

Let’s just take a look at what makes Peters shine as well as she does. Is it the comedic turns in physical humor, such as, her chomping away on a turkey leg? Yes. Is it when she crouches down in feigned pain when being insulted by the curmudgeon Horace Vandergelder whom she wants to marry? Yes. But what I found in her multi-textured performance (never thought I would use that term in describing Dolly) are the quiet moments. She touches the heart just before she sings the show stopping “Before the Parade Passes By” when she speaks to her late husband telling him she will be joining the human race again.  You have heard that line so many times in previous actresses delivery but hers is said with moments of reflection. And even more touching was a scene I don’t even recall but it is Peters who makes  it more than it really is. She visits her old neighbourhood and  late husband’s store and without speaking just stares evoking wonderful memories.  She need not say anything for her posture and facial expression are visually striking. Even when she speaks to a woman whom she used to know it is done with heartfelt emotion. 

We come to appreciate the show even more now in other ways. Foremost is that we remember how marvelous the musical “Dolly” really is. The Michael Stewart book is witty and winning  while  the Jerry Herman tunes throughout epitomize what a musical should be. There are few songs in any show that are as ingratiating and uplifting as “Put on Your Sunday Clothes.” It has been over fifty years since I have first heard that song and I still get chills at the first chord (a big thanks to orchestrator Larry Hochman.) 

Besides the gorgeously saturated pastel colors of Santo Loquasto costumes and his eye popping sets there are some surprises with other cast members. Kate Baldwin as millinery shop owner Irene Molloy has really come into her own. We know from previous musicals what a mellifluous voice she has yet now her “Ribbons Down My Back” sounds even more vibrantly alive. While I always liked the song she gives more meaning it than on first viewing. 

There are several new additions. First and foremost is the always welcome Victor Garber as the malcontent Horace. I was not  particularly taken with David Hyde Pierce’s wooden and stuffy take on the role, but Garber is a joy. Horace may be a sourpuss but there is that spark when  reflecting on his youth that which Garber captures. 

And a real dynamo is British star Charlie Stemp as a worker in Vandergelder’s  shop. His bubbly personality matches his fanciful dancing and high kicks. Stemp starred in the London revival of the delightful “Half a Sixpence” that catapulted the career of Tommy Steele and was a hit on Broadway in the 60’s. Love to see him recreate that role on Broadway.

Gavin Creel whom I originally saw and was a standout as Cornelius Hackl, the other unhappy worker for the miserly Vandergelder, is on sick leave. Christian Dante White has taken over and while White has a sparkling personality and golden singing voice,  he tends  to push a bit too hard. Taking it down a notch would have helped his performance. 

Molly Griggs who portrays the very funny Minnie Fay (Molly’s shop assistant) is good but I do miss that extra zip Beanie Feldstein gave to the role. Feldstein made more of that character than another other Fay I have seen

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Everything in this new production just glistens and with the consummate Broadway performer Bernadette Peters one can again say it is “Nice to have you back where you belong!”

Tickets are available at the Shubert Theater 225 West 45th Street or by calling 212.239.6200.