HELLO, DOLLY! Previews — Page 16

Stage Door Sally said: "JSquared2 I did not pressure the Shubert receptionist. I asked to speak to the House Manager, she declined to connect me and instead told me to tell her my concerns. I didn't get through them before being told to call Telecharge. Did you create your screen name today for the sole purpose to harass me?

Sorry to hear that the Shubert Org. receptionist is a ... Jujamcyn would be more understanding to your needs.

Bring it up to Telecharge asao so you have piece of mind b4 attending the show. Btw, when are you seeing Dolly?



Just Ignore the rude JSquared2!!!

Stage Door Sally said: "JSquared2 I did not pressure the Shubert receptionist. I asked to speak to the House Manager, she declined to connect me and instead told me to tell her my concerns. I didn't get through them before being told to call Telecharge. Did you create your screen name today for the sole purpose to harass me?



"

Sally, it's my experience from years of box office and theater marketing work that the laws of customer service don't really apply to the theater. For the most part, a hit show is a unique product and people will buy tickets no matter how you treat them; on the other hand, if the public isn't interested in a show, no amount of gracious customer service will sell a single ticket.

This is a broad generalization, of course, and there are many theater workers who always treat patrons well. From their posts here, you can tell PThespian and Jane2 are consummate professionals and behave as such regardless of the size of the house.

But you should be aware that DOLLY is and will be (at least for a year) a MASSIVE hit, everyone involved is busier than usual, and tickets are flying off the shelf whether the receptionist is cordial or not. If you really want your questions answered in advance (and I don't blame you), you should expect to be very persistent. And try not to take it personally when you reach people who are anxious to hand you off to anybody else.

Now, THAT'S a great picture. Thank you Robbie2!

I saw the show last Saturday and I cannot wait for the cast recording. The songs were so beautifully performed and the orchestrations were sublime. Gavin and Kate hit it out of the park and Ms. M...well, perfection! I can't believe I have to wait until June 13th to see it again.

Updated On: 3/24/17 at 07:18 AM

B.E.T.T.E.M.I.D.L.E.R

What a force. I feel like a cliche when I say "SHE WAS BORN TO PLAY THIS ROLE!" She had the audience in the palm of her hand the entire show. Her comedic timing is golden. The title song is literally a show-stopper -- standing ovation. I could feel the audience radiating this cheerful buzz throughout the show! Bette's voice is lower - she's not belting... nor should she. I can't fathom doing that 7xwk at 71 years old! Kate Baldwin & Gavin Creel are unbelievably charming -- Creel captured my heart and ran with it! Just a real great old classic musical with beautiful costumes, sets, humour and heart. Incredible ensemble. SO MUCH TALENT. What a joyful experience. What else what else what else? Obviously the show is still in previews... I think if anything over time it will get cleaner in terms of fluidity and transitions. I felt that some of the accents needed a bit of work - I'm excited to see it again.

Updated On: 3/24/17 at 11:26 AM

I was there last night as well. It seemed like a legitimate flub. She said something like "oh what the hell is it? Someone out there sing it....". AND being Bette Midler, the audience ate it up, which gave her a moment to get back. Not too many people can break character after making a mistake and actually turn it into a great moment. If it was done on purpose, it was executed brilliantly. :)

jakebloke said: "I was there last night as well. It seemed like a legitimate flub. She said something like "oh what the hell is it? Someone out there sing it....". AND being Bette Midler, the audience ate it up, which gave her a moment to get back. Not too many people can break character after making a mistake and actually turn it into a great moment. If it was done on purpose, it was executed brilliantly. :)"

You're right! That's what she said first and then thereafter made a comment that she's too old still be doing this (which made me laugh!) I agree the fact that I (and others) couldn't tell if it was a flub or done on purpose meant that Bette definitely executed it well! :)

I'm so glad I got to see this show. I watched the movie when I was a kid in the 90s but now just have started watching youtube videos of different productions and found this one from the 1968 Tony's. The choreography in "Put on your Sunday Clothes" look similar to this production and made me wonder if this revival's choreography was similar to the original back in 1964.

Yes, the choreography for the Pearl Bailey company was essentially the original Gower Champion choreography. Sets and costumes remained the same. I had the pleasure to see Pearl Bailey do Dolly twice. This video brings back so many fond memories.

Yes, I'm equally curious about the sets for this new production of Dolly. In the one official photograph, showing the title number, it certainly looked like the Harmonia Gardens set echoed the original Oliver Smith design.

Can anyone who has seen the original and the new production comment on the sets and their differences?

The Harmonia Gardens set is lovely, but it cramps the stage and makes the Waiters' Gallop a bit of a disappointment for me. It seemed too careful. The dancers couldn't break out the way they should.

I saw it last night and thought the Gallop was incredible. Out of curiosity I went on youtube to watch the original and I think what they've done in the revival is far more athletic and danced. It seemed like the original was more of a comedy number for gags.

The show was spectacular! One of my favorite evenings in the theatre. Just joyous!

Updated On: 3/26/17 at 12:29 PM

Was the huge stack of plates during the waiter's gallop in the original? At one point I really thought it was going to fall on the folks in the front row!

Oh I completely agree with you about it needing to be funny. I'm just saying the original seemed less of a 'dance' number and more all about the gags with stylized movement. This version, while having some of those similar moments, left me wowed by the skills of those men. I squealed when they toetouched off the carts and leapt over the pit!

The whole ensemble has so much talent. To sound like that and then to be able to dance on top of it.