Ok, so I saw the matinee on Wednesday March 29th and all I can say is if every musical was this extravagant, entertaining, and heart warming, no one would ever question the price of a Broadway ticket again.
First and foremost I will day I was slightly disappointed in Bette's voice during the first act, as I felt she was holding back, after all it was her first Wednesday Matinee. By the second act though, she was full steam ahead. She had the audience in the palm of her hand throughout the entire show, and you by the time Hello Dolly came about she could simply wink and the audience would erupt. You can tell she is having the time of her life up there and that she knows her entire career has seemed to lead up to playing Dolly. I honestly forgot she is 71 playing a role meant for a woman 20-30 years her younger, and when I took that into account I was all the more blown away by her craft. I don't want to jinx it and cause her to have a Jan Maxwell moment come June, but they should just engrave the placard on the statuette on it right now.
David Hyde Pierce was great and held his own against Ms Middler, but I think Benn Platt does not need to worry, unless the theater community finally decides to award the amazing talent and treasure that are Andy Karl's eyebrows. This is nothing against Mr Pierce, he was great, it just wasn't his show.
Gavin Creel, was out, but God I must say if I were the producers I would honestly think of of releasing him because Christian Dante White's bright eyed and bushy tailed Cornelius was the perfect foil to Middler's all knowing Dolly. If they did drop Creel, I could honestly see this being a star making turn for White, and would considering him serious contender, if not front runner come Tony time. This guy has a career ahead of him, and wouldn't be surprised to see him either as the next Lola, or Aaron Burr or Lafayette within the next year or so. This does not mean I don't like Creel, I loved him in Hair, and She Loves Me, I just think I was blown away by White, who is a relatively green gypsy was able to hold his own against the scenery chewing legend that is Bette Middler.
Kate Baldwin oh Kate Baldwin, you are always the bridesmaid and never the bride.....oh how I wish Finnian's Rainbow had transferred to the Neil Simon just so it could afford to run through the Tony's so you would of been a serious contender for Best Actress and your career wouldn't of stalled. Her voice is like a gift from God, and I hope this helps her regain status as a Leading lady.
Beanie Feldstein as Minnie Fay, is a scene stealer who at times even upstages Ms Middler. If there were any cast member outside of Bette that was a serious contender come award season it would be Ms Feldstein.
Jennifer Simard is hilarious, but I just wish she would be able to get a meatier role post her Disaster sucess.
Taylor Trensch, Melanie Moore, and Will Burton were all serviceable.
The production though was simply gorgeous. When most productions are cutting corners with projections, and symbolic set pieces, this production went all out with beautiful backdrops, and fully realized sets. It seems like it was definitely inspired by the original production looking at the videos, but when the train pulls onto the stage during Put on Your Sunday clothes, I was simply blown away. I can't remember any show in recent memory having a set piece of that size and grandeur come onto the stage for such a simple moment. Then the costumes, were just mesmerizing. My jaw dropped as the cast walked out in their "Sunday Clothes". I am not one to normally rave about a production, but all I can say is WOW.
After I saw The Book of Mormon, Hamilton, Dear Evan Hansen (all of which were/are SRO shows when I saw them, forcing me to pay full price), my friends would ask me "How was it and is it worth the splurge?" My answer was always, "It was great, but I honestly would wait until the hype dies down. I would only see it if you can get some sort of discount as most of your ticket price isn't going to the production itself, but rather the producer's pockets." For Hello Dolly, you can honestly your money on stage and considering its a once in a lifetime production with a once in a lifetime performance, it is most definitely worth the splurge. This is nothing against more innovative musical productions on Broadway, my favorite show is Next to Normal, but I do have a problem pay $150+ for a relatively bare-bones production. I am a fan of producers like Sonia Friedman who try to make sure there are a decent number of tickets that are reasonably priced so that they are accessibly to all audiences.
On a different note: If there was any show that should actually worry about Hello Dolly come Tony time, it should be NPATGC1812 as I think this Hello Dolly could easily sweep the technical awards, which NPATGC1812 will definitively need for marketing purposed once Groban leaves, if Dear Evan Hansen also gets Best Musical. It will honestly come down to whether voters want to award an innovative production whose design somewhat redefines what it means to be in a theater, or one of the most beautiful sets I have ever seen.
