I don't think any entrance in Broadway history tops Dolly at Harmonia Gardens but a few others I like:
- I think Bye Bye Birdie is really well constructed with the slow reveal of Conrad Birdie. The first time we meet him (in "Healthy Normal American Boy", he doesn't even speak. Then finally after more than half an act talking about him, we finally get to hear him in "Honestly Sincere"
- I've also always been fond of the Witch's entrance in Into the Woods
-- I doubt there will ever be anything that approaches Dolly's entrance at the top of those stairs (assuming the actress playing Dolly is up to the role). If you don't get a little goose-bumpy, you are probably dead.
-- Sing Out, Louise the first time I saw Gypsy was incredible. Not as much in future performances, when I knew it was coming.
-- John Malkovich arriving on-stage in Burn This. I barely remember the play, I am not sure that I even liked it or thought that he was good (or did he overact????); but the sheer audacity behind his entrance scene was exhilarating.
-- Velma Kelly (especially when played by Bebe Neuwirth) and All That Jazz -- Angela Lansbury's arrival in Blithe Spirit. The audience just went crazy each of the three times I saw it. Admittedly, this time it was for the specific actor, rather than the character in the particular scene.
-- Sandy Duncan flying in in the great revival production of Peter Pan
-- Hamilton when Lin Manuel was still in the cast. IMO a large part of that excitement was seeing seeing the person who wrote the work performing it as well...nothing will top that
-- Irene Worth arriving at the end of Act 1 and announcing 'I am the Lady from Dubuque'
-- Mame coming down those stairs in It's Today (undoubtedly affected by my love of Mame. I probably love Mame almost as much as Dollypop lives Dolly).
-- Cate Blanchette arriving chez Stanley and Blanche in A Streetcar Named Desire. I have seen half a dozen Blanche's, but none was as mesmerizing from the absolute first second.
-- Phil Silvers coming on stage and performing Comedy Tonight as differently from Zero Mostel as humanly possible. He was audacious in the role.
I am sure there are others that surpass many on this list, but these are the ones that came to mind immediately
I remember being stunned when Michael Jeter made his entrance in GRAND HOTEL. He simply walked from upstage to downstage center and his posture, his gait, and his facial expression told everything we needed to know about his character in just a few seconds. He totally embodied the ailing character of Otto. It was truly magical.
It doesn’t give me chills per se, but Minnie’s opening monologue just puts a smile on my face every single time.
Also Dolly. No one can say that entrance isn’t incredible.
Bill Sykes in Oliver too. The mood and tone of the show instantly switches when he shows up in Act 2, and is a clever indicator of what’s to come in the show.
Sweeney Todd’s entrance has always been a favorite. Wonderfully chilling build up and a great way to start the show. While the Doyle revival’s staging didn’t always work for me, I love seeing Michael Cerveris slowly creep out of that coffin (even though I missed the more sudden nature of all the lights shining on him like they did in the original production). I also love his entrance in the finale as well. It’s very, very similar to his appearance in the beginning, but it still works like a charm. Funnily enough, while I thought his initial entrance in the Doyle revival was great, I think his “entrance” in that production’s finale was poorly done. Having ensemble members shouting “there” works when you have enough people onstage to keep singing. It doesn’t work when the only person who’s available to point out Sweeney is the actor playing him. That’s the thing with that production, at times it was brilliant, but then there comes along a moment that reminds you the show isn’t typically done like this for a reason.
In similar vein, perfectly builds up Hades’ appearance with him slowly strolling down onto the stage during Way Down Hadestown. “I missed you” never fails to get uncomfortable laughter out of the audience.
Dolly Levi’s entrance in Hello Dolly is simple, but charms the heck out of the audience. Sort of like the show in general. And how can you not love that fanfare that introduces Dolly in act 2.
Alexander Hamilton’s entrance is another great example of building up the character before showing them. The show has other great introductions (King George, Washington, Jefferson), but nothing gets the crowd as hyped up as seeing Hamilton pop up in that opening, especially when Lin Manuel played him.
The Angel’s first physical appearance in Angels in America is another awesome example, and it helps hook you into the second half of the show.
The Phantom of the Opera’s entrance is wonderfully mysterious first look at the evening’s title character.
Seeing Evan Hansen spring seemingly out of nowhere onto that bed is simple, but it’s a great trick and hooks you on.
Celia Kennan-Bolger’s entrance as Laura in the 2013 Glass Menagerie revival will forever be the best entrance I’ve ever seen. Like who thinks of that. Insane stagecraft.
When Andre/Hermes walks out in Hadestown after the whole cast walks out...just magnificent. The second he walks out with that confident aura, he has you hooked. The four times I’ve seen Hadestown, Andre still manages to captivate me. I haven’t seen anybody else so I can’t compare, but he really has this magnetic presence.
AlexxGee said: "When Andre/Hermes walks out in Hadestown after the whole cast walks out...just magnificent. The second he walks out with that confident aura, he has you hooked. The four times I’ve seen Hadestown, Andre still manages to captivate me. I haven’t seen anybody else so I can’t compare, but he really has this magnetic presence."
I've only seen the show once, but I wholeheartedly agree. What's impressive about De Shields as Hermes is how little he actually does in those opening moments. But a little goes a long way.
Hades also gets a terrific introduction after sitting quietly upstairs for the first 30 minutes of the show. "I missed you."
I certainly agree about Dolly, and I was surprised how great it was. I wasn't expecting to find it so much fun. And yeah, Anatole does get a great intro in Great Comet. Then again, so does Pierre.
It's not chilling, but I would be remiss in failing to mention Jefferson's entrance at the beginning of Act Two in Hamilton. No one claims "What'd I Miss" is the best song in Hamilton, but it's such a great introduction to the flamboyant but wickedly smart version of Jefferson in the musical. (Daveed Diggs' extraordinary performance is on my mind because of the movie announcement it's also the first time the audience gets to see an actor playing a different role, which is also a treat.
Lot666 said: "The unveiling of the chandelier to start the Overture in Phantom of the Opera."
A similar moment is "Hello Bikini Bottom" in SpongeBob's opening number. After ~10 minutes of playing far downstage and around the house, the curtain rises, the music swells, characters run down the aisles, and the lights go up. I got chills even watching it on recording.
I guess there's something special about spending the start of the show in a darker, smaller playing space and then strategically opening up to something bigger and brighter.
One of my favorites has got to be Marya D’s entrance at the end of The Abduction in Great Comet. I also love adult Simba’s entrance at the end of act 1 of the lion king, and Hedwig’s entrance.
Gensho said: "As a side note to this discussion, the concept of applauding for the entrance of a star on stage is very much an American construct. When I see shows on the West End, you almost never hear applause for the entrance of a star."
I learned this when seeing To Kill a Mockingbird last year. The opening is a slow build to the entrance of Jeff Daniels, and unfortunately the audience clapping did somewhat make it all about the actor, rather than the character which I found to be a bit weird. (just because I haven't grown up with it, I think)
I find Hadestown does it all rather beautifully, no big entrances per se, but introducing the characters in the way that Hermes does is all rather magical and a lovely way to start the show. When he introduces the Gods you really do feel like these regal characters are looking down on you, rather unimpressed. :)
Best inanimate object entrance has to go to the helicopter in Miss Saigon (I know, probably an obvious choice). I was excited when I saw the original production as a child, but for the most recent revival in London I was on the second row, and the effects, excessive bass and fans really made me feel like it was flying overhead, It was such a breathtaking bit of staging. (although boo to the tomfoolery of putting up the little projection first, I thought they were going to cheat me! *shakes fist*)
I had tears in my eyes during Andre’s entrance in Hadestown both times I saw it. He is just so powerful and magnetic, the first time I saw it I remember thinking to myself that I was watching a theatre legend walk out onto that stage to a deafening silence after the applause stopped. It was pure magic. In terms of classic shows, you can’t beat Rose’s entrance in Gypsy and of course Dolly’s entrance. The first time I saw the revival, the audience went nuts when Bette revealed herself, and I had never heard a Broadway audience react like that. Incredible memory.
When Eurydice runs back out onstage after going back down and she just nonchalantly says “does anybody have a match?” As if nothing happened.
My father (AIDS)
My sister (AIDS)
My uncle and my cousin and her best friend (AIDS, AIDS, AIDS)
The gays and the straights
And the white and the spades
André de Shields can control a room and that is all! I was silently crying in awe and in anticipation; he really makes you hold your breath. Theatre magic.
, he doesn't even speak. Then finally after more than half an act talking about him, we finally get to hear him in "Honestly Sincere"
