Posted: 3/16/17 at 3:02am
I was hoping to see some added songs or one written specially for Midler. Look forward to "Penny in My Pocket" in Act II.
Updated On: 3/16/17 at 03:02 AM
Posted: 3/16/17 at 3:18am
Michelle, I tear up for you, too. My first show I saw was the Pearl Bailey Dolly back in the 1960s...al though by the time I saw it, Pearl's standby went on but Calloway still performed. I grew up on that recording . What a great memory. I'm seeing Bette in June and can't wait.
Posted: 3/16/17 at 3:36am
ljay889 said:
There has been speculation since day one over whether they'd add one or both Merman songs or even "Just Leave Everything To Me." It was perfectly logical to think they might give her more to sing. I think it's refreshing she's singing the score as written. I didn't mean no belting as a negative.
The speculation was started by people who knew nothing on this site.
"
Posted: 3/16/17 at 4:54am
brian1973 said: "All of these "What is the view like from.." messages are SO boring.
its like the people asking have never sat in a theatre before."
Well, seeing that most remaining seats for this show that don't require a second mortgage are on the extreme sides of the orchestra, it is more that people don't know whether one side is better than another, if anything major happens that you won't see from the first four rows on the extreme sides, etc. Like, at Sunset Boulevard, one side can't see Glenn's staircase well, which she uses a lot... so knowing that, people book on the other side of the house.
I already have a center orchestra ticket for the night before Bette wins the Tony, and a second row ticket for what could very well be Bette's final performance, but now I think I need to bridge those two together and add a fall revisit. Anyone ever sit in the boxes there? Better to be in the closer or further box for this, ya think?
Posted: 3/16/17 at 7:39am
I love the show, and my memories of it through the years burn in my head with a steady glow. The score of course, is divine, and hearing it again last evening reconfirmed for the umpteenth time the wondrous gifts of Jerry Herman. Not only is he our greatest living composer-lyricist, he's also our greatest living composer, and our greatest living lyricist. The book, once again, proved a delight.
So of course I enjoyed the show, and teared up more than a few times as past memories intermingled with what was happening on stage. But I must confess that some of the changes did not please me. I think the addition of "Penny in My Pocket" was a mistake. It upsets the balance of the second act. The costumes were beautiful, the backdrops less so. Bette Midler was rapturously welcomed. She projects warmth, and scores with her own winning sense of humor. Her singing voice didn't sound in the greatest shape, and I would have expected her performance to be a little more outsized. Perhaps that will come as the show goes on.
Reservations aside, it's so really nice to have Hello, Dolly! back where it belongs.
Posted: 3/16/17 at 7:42am
Musical Master said: "I take it that from these rave reports, that Jerry Zaks has redeemed himself after that insipid and miscast La Cage Aux Folles revival from 2004."
This may also seem to be a long-awaited return to form for Jerry Zaks. His track record has been pretty inconsistent for the past 20 years with underwhelmingly received productions of The Civil War, Little Shop of Horrors, La Cage aux Folles, The Addams Family, and A Bronx Tale.
Updated On: 3/16/17 at 07:42 AM
Posted: 3/16/17 at 7:57am
For anyone willing to brave the cold, the cancellation line proved successful for those waiting. I got there around 7:10 and they started offering tickets to the line around 10 minutes later. The first 8-10 definitely got seats before I went inside. The seats may have been expensive but those waiting didn't seem to care.
Posted: 3/16/17 at 8:55am
@bk, She is doing something different with the eating scene that isn't the original Gower Champion staging, but its own thing and VERY funny. (I remember that scene in the 95 revival VERY well.)
Posted: 3/16/17 at 8:59am
Sorry to be THAT guy, but if my options for seating are far side of the orchestra or a box seat, which do you think is a better view? They're basically the same price.
Love hearing all these reports - especially about Creel and Baldwin.
Posted: 3/16/17 at 9:02am
divarobbie2 said: "@bk, She is doing something different with the eating scene that isn't the original Gower Champion staging, but its own thing and VERY funny. (I remember that scene in the 95 revival VERY well.)
"
Could you please explain the difference with a spoiler alert?
Posted: 3/16/17 at 9:03am
Oh gosh. I'm the only one who didn't love it, huh? I confess that I didn't know the show before catching the first preview. It's one of the classics that somehow I've missed for the past several decades, and I never saw the movie. Gorgeous as most of the music is, I just didn't take to the material that strongly. Bette is a certified star, and I've had the pleasure of seeing her in concert a number of times. Her voice isn't quite what it used to be (which is fair for a woman of 71), but I didn't feel like her comedy chops quite matched what I've seen her achieve elsewhere. I enjoyed David Hyde Pierce, finding him to underplay the role nicely, though for the life of me, I never felt any chemistry between the two leads.
Kate Baldwin, as ever, is in stunning voice, though I found her performance a touch wooden. Gavin Creel is rock solid but didn't wow me. Instead I found myself most delighted by two of the actors in the smallest roles--Jennifer Simard who can milk a gallon of comedy out of a single second and Taylor Trensch who apparently has the same skill.
The crowd was rapturous and the excitement in the room palpable. I'm thrilled to hear so many people had a blissful night at the theater. I wish I had felt the same. I'll give the show another shot when Donna Murphy takes it on since I adore her. And because I probably won't be able to afford another ticket later in the run to see how much Bette grows into the role.
Posted: 3/16/17 at 9:17am
Were there any major technical glitches or stoppages last night? I usually hesitate to go early in previews for those reasons, but I'm looking to buy a resale ticket for tonight.
Posted: 3/16/17 at 9:43am
For those who see the show. Can you provide your seat locations as well? Thanks
Posted: 3/16/17 at 9:46am
"Gavin Creel could be on his way to his first Tony. He is practically stealing the show."
This just made me smile so big I don't even need to read the rest.
Posted: 3/16/17 at 9:51am
Sauja said: "Oh gosh. I'm the only one who didn't love it, huh? "
Sauja, you are not the only one. While I enjoyed it, it also left me wanting a little bit more. I tend to agree with a comment made earlier by After Eight. I expected her performance to be bigger, more outsized was the term I believed he used.
Posted: 3/16/17 at 10:03am
Based on what I saw at the invited dress, you should choose house right box furthest from the stage for best sight-lines. Bette has significant moments staged at both right and left prosceniums, but the longest is at the stage right proscenium (house left). You'd miss that from the house left boxes. There are short moments in the show where things are on the second story of a set (most significantly Dolly's entrance to the Harmonia Gardens before she descends the stairs). Friends at the back of the mezzanine said they missed that due to the overhang.
Updated On: 3/16/17 at 10:03 AM
Posted: 3/16/17 at 10:10am
I sat Mezzanine Center in Row G last night
Bette is indeed back where she belongs
yes, the plot is silly and the jokes are corny - it's Hello Dolly for God's sake
the songs are still lovely
the waiter number still goes on too long
the audience sang along during the Overture - too funny
yes it's dated so just sit back, in those very tight seats and enjoy Bette in all her glory
Posted: 3/16/17 at 10:23am
Were there any major technical glitches or stoppages last night?
Nothing major but here they are:
When Ermengarde and Ambrose win the polka dance can contest one of the handles of the trophy broke off which the audience noticed (audibly).
During Bette's catwalk moment during "So Long Dearie", she missed a twirl of the cane she was using and it dropped into the audience to which a front row seater handed it back up to her to glorious applause.
It looked like she forgot her lines during the court scene as she did a long pause as if thinking (or waiting for help) but covered it up quickly. She did this twice in other scenes but since she's playing Dolly in her Divine Miss M persona, it lends itself to that.
I will admit I did get choked up a bit after the title number. Seeing the ENTIRE audience roaring and Bette center stage beaming up out to the audience in what seemed like forever was an experience that will stay forever with me. Looking at the other actors on stage as well and the smile on their faces you can tell they feel blessed to be in this revival with her.
Oh, after her final curtain call (she's solo on stage) as the curtain was coming down, she comically dropped to the floor feigning exhaustion.
Posted: 3/16/17 at 10:23am
I'm not posting on the board much these days, but how could I not share in the joy of last nights' love-in at HELLO DOLLY!
Yes, the old girl is back -in a new production that very much pays homage to the original. Jerry Zaks, Warren Carlysle and designer Santo Loquasto are here musical theatre curators of the most loving and respectful pedigree, taking Gower Champion's glorious original production and giving it a light dusting, a bit of touch up color, and a few imaginative brush strokes of their own. But make no mistake about it, those at the Shubert theater may feel like they've stepped into a time machine back to 1964, or perhaps even to 1914 watching Midler and Dolly parade across the footlights.
They don't make them like this anymore, and the most striking thing for me was how quaint and simple this show and it's expression of musical theater feels in a contemporary musical theatre world. I suspect for some unfamiliar with the piece, this won't be a good thing. And in truth I had forgotten that HELLO DOLLY on stage is even less sophisticated in plot than it's film counterpart.
But for me, this look back to the golden era of musical theater was as infectious and intoxicating as ice cream in Champagne and I can't imagine the production being given a more loving and delightful mounting.
The big event here is of course Bette Midler who doesn't disappoint. Some first performance nerves aside, it's a pretty glorious musical theater turn, and one that will only get better as she finds her sea legs. The voice has diminished some, but her dramatic gifts, and comedic timing (particularly in the uproarious second act) certainly has not. Her long forecasted Tony win seems likely.
She is superbly supported by David Hyde Pierce who is a lovable grinch of a Vandergelder. I thought the addition of "Penny in my Pocket, was pretty delightful, and they find a lovely pay off for it in the final scene with is a beautiful and moving moment that validates the inclusion.
Supporting cast is equally delightful, though I daresay Gavin Creel and Kate Baldwin could let loose a and join the party a little more. I particularly loved Beanie Feldstein, an unconventional zaftig of a Minnie Faye and Jennifer Simard who can make any two line scene into a masterclass of comedy.
Posted: 3/16/17 at 10:34am
I'm so glad this production is getting such a warm reception. I can't wait to see it!
Can someone share the understudy list please?
Posted: 3/16/17 at 10:37am
Just splurged and bought an orchestra seat to Bette's first performance back after the Tony Awards. I CANNOT WAIT.
Updated On: 3/16/17 at 10:37 AM
Posted: 3/16/17 at 10:37am
Robert16 said: "yes, the plot is silly and the jokes are corny - it's Hello Dolly for God's sake"
I get that, but as someone who didn't know the show going in, I found the piece to be a bit of a let down. I love classic musical comedies. From On the Town to How to Succeed to Guys and Dolls...they're shows that are so perfect that even as they age, they feel evergreen. By contrast, this just felt a little...dusty. But again, to each their own! And I'm thrilled it's bringing so many people such joy.
Posted: 3/16/17 at 11:09am
neonlightsxo said: ""Gavin Creel could be on his way to his first Tony. He is practically stealing the show."
This just made me smile so big I don't even need to read the rest.
"
I had the same reaction! Can't wait to see it next month
Posted: 3/16/17 at 11:16am
Sauja said: "Robert16 said: "yes, the plot is silly and the jokes are corny - it's Hello Dolly for God's sake"
I get that, but as someone who didn't know the show going in, I found the piece to be a bit of a let down. I love classic musical comedies. From On the Town to How to Succeed to Guys and Dolls...they're shows that are so perfect that even as they age, they feel evergreen. By contrast, this just felt a little...dusty. But again, to each their own! And I'm thrilled it's bringing so many people such joy.
"
In 1964, HELLO DOLLY! was already dated- a throwback, a nostalgic return to the first couple of decades of life (and even "musical theatre"
in this century. Plenty of audiences, including Gower Champion were old enough to remember that era, and the piece was filled with flourishes that recall the way musicals were first presented on Broadway. Much of the style is re-created here: the presentational parading across the stage as a moving gallery of costume and simple spectacle, the plot which is mostly a gaggle of one liners weeding together just the strings of a story, the scenery comprised of painted drops and flats....
its absolutely true that today this show feels so of a different time it's like being plunked into an alternate universe, but I think that's ultimately part of its charms if you are willing to surrender.
Posted: 3/16/17 at 11:25am
Terrific review, Michael Bennett. The one i was waiting for. 
