Hello, Dolly! Tour reviews. — Page 3

For what it's worth, here are two reviews of the San Francisco tour stop.

Sam Hurwitt of the Mercury News made a minor error about Ermengarde (not Horace's daughter) but praised both the show and the performances.

https://www.mercurynews.com/2019/02/21/iconic-musical-dolly-makes-a-grand-entrance-in-san-francisco/

Lily Janiak of the San Francisco Chronicle doesn't like many older musicals, and she really hated Hello, Dolly! But she thought Betty Buckley was excellent, and praised the performers, costumes, and set design.

https://datebook.sfchronicle.com/theater/review-this-dolly-has-little-to-say-beyond-hello

Updated On: 2/22/19 at 12:48 AM

MarkBearSF said: "bear88 said: "Lily Janiak of the San Francisco Chronicle doesn't like many older musicals, and she really hated Hello, Dolly!But she thought Betty Buckley was excellent, and praised the performers, costumes, and set design.

https://datebook.sfchronicle.com/theater/review-this-dolly-has-little-to-say-beyond-hello"

Lily Janiak is an embarrassment to the Chronicle. She has no interest whatsoever with classic musicals - her reviews often sound more like they're written by a grad student in a Sociology course rather than a review in the leading newspaper of a major market. Recall that her review of "The King and I" couldn't understand why Anna was so fixated on that house and considered "She Loves Me" to be a work about employer-employee relations.

As for the Mercury News review - like a couple of others who saw Press Night on Wednesday, mentioned that her vice sounded hoarse. I wonder if it was because that was the second show of the day. I saw her in the Matinee that day, and she was in great voice. (Still a legitimate concern, though)

I have no issues with criticism of Betty Buckley's portrayal (personally, I somewhat shared them - but she won me over) or any other concerns about the production - but Lily Janiak's deconstructions are absurd and useless for someone looking for a real review."

Agreed. Lily Janiak's reviews are laughable.

Updated On: 2/22/19 at 12:19 PM

First off, I had never seen Hello, Dolly! before Tuesday. (I had seen the movie a couple of years ago, so I did have some idea about the plot, songs and tone.)

So Kitsune, don't worry about doing any preparation. There's a history of how this show became a Broadway musical, which is interesting enough, but it's not going to interfere with your enjoyment (or lack thereof).

I don't have other theatrical productions or Dollys to compare, only my own reactions.

The Tuesday audience wasn't full on the orchestra sides, but it was enthusiastic without reaching "heights of ecstasy." And that was fine by me. It was easy to hear the anticipation and response, especially during the Waiter's Gallop and title number, and that made the show more fun. But it didn't get in the way, as the audiences at some popular shows sometimes do.

The production was very well done, and I enjoyed Hello, Dolly! overall a lot more than I expected, even if some of the vaudeville silliness isn't really my thing. In that respect, I might have had an ideal Dolly, because the silly stuff isn't Betty Buckley's strength. The eating scene, for example, felt tedious to me.

Her voice wasn't peak Buckley, or even the Buckley I saw in Grey Gardens a few years ago, but I know she's a 71-year-old woman in the headline role on a grueling tour (two shows on Sunday in LA, travel day Monday, the Tuesday show I saw, and two shows on Wednesday) who has struggled with illness. But what she might have lacked in vocal pyrotechnics or comic silliness was made up for in star power and an emotional depth that made me root for her character. Her "talks" with Ephraim and performance of Before the Parade Passes By were highlights. And I thought Buckley nailed the title number, which really does turn into a celebration of the character and - in its way - the show itself.

Lewis J. Stadlen was an excellent Horace, and I agree with everyone's raves about him. Jess LeProtto was a standout as Barnaby. I didn't have any quarrels with the supporting cast or the ensemble.

I chuckled at Lily Janiak's review in the Chronicle because I knew she would despise it (even while praising almost everything about the actual production). She was expecting a feminist deconstruction of Hello, Dolly? Shoot, the guys seem like sexist jerks in "It Takes a Woman." That's kind of the point of the song, I think. Do we think Dolly is going to end up "cleaning the stable" after getting married? No, she's already running things! Janiak is predictable on classic musicals, which didn't bother me. But did she really hate the score, too? One of the things that struck me is how good it is. I knew the most famous songs. But the show is filled with charming songs: "Ribbons Down My Back," the very cute "Elegance," the romantic "It Only Takes a Moment" - what's not to like, or at least appreciate?

Saw today's matinee and it was charming, delightful, and wonderful. Just a fantastic show and production. I still feel so happy and light 4 hours after walking out of the theatre. I saw it once in NYC with Bette and think I enjoyed the show more today than I did on broadway (maybe I was just better rested and had a better seats today). Went with a friend who had no knowledge of the show and she loved it.

Todaytix: ended up with row T aisle seats towards the center. GREAT seats! I also noticed last night (friday) that rush seats were still available at 5:00pm so it seems like it's pretty easy to get cheap seats!

Bette's Turban said: "bear88 said: "First off, I had never seen Hello, Dolly! before Tuesday. (I had seen the movie a couple of years ago, so I did have some idea about the plot, songs and tone.)

So Kitsune, don't worry about doing any preparation. There's a history of how this show became a Broadway musical, which is interesting enough, but it's not going to interfere with your enjoyment (or lack thereof).

I don't have other theatrical productions or Dollys to compare, only my own reactions.

The Tuesday audience wasn't full on the orchestra sides, but it was enthusiastic without reaching "heights of ecstasy." And that was fine by me. It was easy to hear the anticipation and response, especially during the Waiter's Gallop and title number, and that made the show more fun. But it didn't get in the way, as the audiences at some popular shows sometimes do.

The production was very well done, and I enjoyed Hello, Dolly! overall a lot more than I expected, even if some of the vaudeville silliness isn't really my thing. In that respect, I might have had an ideal Dolly, because the silly stuff isn't Betty Buckley's strength. The eating scene, for example, felt tedious to me.

Her voice wasn't peak Buckley, or even the Buckley I saw in Grey Gardens a few years ago, but I know she's a 71-year-old woman in the headline role on a grueling tour (two shows on Sunday in LA, travel day Monday, the Tuesday show I saw, and two shows on Wednesday) who has struggled with illness. But what she might have lacked in vocal pyrotechnicsor comic silliness was made up for in star power and an emotional depth that made me root forher character. Her "talks" with Ephraimand performance of Before the Parade Passes Bywere highlights. And I thought Buckley nailed the title number, which really does turn into a celebration of the character and - in its way -the show itself.

Lewis J. Stadlen was an excellent Horace, and I agree with everyone's raves about him. Jess LeProtto was a standoutas Barnaby. I didn't have any quarrels with the supporting cast or the ensemble.

I chuckled at Lily Janiak's review in the Chronicle because I knew she would despise it (even while praising almost everything about the actual production). She was expecting a feminist deconstruction of Hello, Dolly? Shoot, the guys seem like sexist jerks in "It Takes a Woman." That's kind of the point of the song, I think. Do we think Dolly is going to end up "cleaning the stable" after getting married? No, she's already running things! Janiak is predictable on classic musicals, which didn't bother me. But did she really hate the score, too? One of the things that struck me is how good it is. I knew the most famoussongs. But the show is filled with charming songs: "Ribbons Down My Back," the very cute "Elegance," the romantic "It Only Takes a Moment" - what's not to like, or at least appreciate?"

What a well written and thought out post. You are right. What a grueling touring schedule. Glad you enjoyed yourself."

Thanks to everyone who chimed in. My other recent "new to me" revival was Kiss Me Kate in New York in February, which I thought was okay but didn't really gel as a whole. Because that production is trying so hard to subvert the original text (both of the musical and Taming of the Shrew), I may have benefited from reading up more beforehand.

Anyway, I know the shows aren't related, but I went in with tempered expectations. I had a fantastic time and left the theater grinning. What struck me about this production of Hello Dolly is that it knew exactly what it wanted to be, which is a good, old fashioned musical, complete with dancing waiters and pastel costumes. It's been dreary in the Bay Area the last few days, the news cycle is endlessly miserable, but Hello Dolly just felt like such a spot of brightness.

I don't have any point of comparison, but I thoroughly enjoyed the entire cast. I can see how people would critique Betty Buckley's comedic timing, and I agree the "eating" scene stretched out. However, she brought a lot of warmth and pathos to the role, especially in her scenes talking to Ephraim. She also was appropriately larger than life.

LizzieCurry said: "SF was also the furthest I'd ever sat from the stage, which probably didn't help."

I don't know how other people feel, but after having attended three shows at the Golden Gate in four months I feel like the Balcony/Mezzanine are farther from the stage than the Orpheum or Curran. I typically can get Orchestra at the Orpheum, but every performance I have attended at the GG had almost no Orchestra seats available so I wonder if it is smaller. Then the Mezzanine seems steeper than the other theaters, which gives the effect of feeling far from the stage. That's my impression. Not sure where you sat, LizzieCurry.

From Leah Garchik's column in the SF Chronicle today, (Right on, Betty!)

"Betty Buckley’s response when a cell phone went off at a Saturday night performance of Hello Dolly! She stopped the music. 'Is that for me?' she asked, interrupting her monologue, waiting a bit and adding, 'You know, there is a button to turn it off.' When it was time for curtain calls, she briefly mimed talking on a phone”

MarkBearSF said: "From Leah Garchik's column in the SF Chronicle today, (Right on, Betty!)

"Betty Buckley’s response when a cell phone went off at a Saturday night performance of Hello Dolly! She stopped the music. 'Is that for me?' she asked, interrupting her monologue, waiting a bit and adding, 'You know, there is a button to turn it off.' When it was time for curtain calls, she briefly mimed talking on a phone”"

If a performer is ever going to stop a show to handle this, THIS is the way to do it! Make point of it, make a joke, stay in characters, well done Betty.

I wasn't sure which Hello, Dolly! thread to post my thoughts on about the present tour, so I chose this one.

I saw last night’s performance of Hello, Dolly! at The Kennedy Center, and needless to say, I came away quite disappointed. After having seen the recent Broadway revival countless times, the tour never quite measures up to what I witnessed at the Shubert Theatre. With the exception of Jessica Sheridan as Ernestina, everyone else pales in comparison to their Broadway counterparts. I wondered throughout the evening if the tour was actually directed by Jerry Zaks, or one of his associates. Everyone works hard and hits their marks, but something just seemed off about the evening’s proceedings. In a word, the JOY that was so apparent on Broadway, doesn’t seem to exist in the present tour. Oh, and how I missed the soaring tenor line in the harmonies in the ensemble numbers.

Betty Buckley was better than I thought she would be (quite different that Bette, Bernadette, and Donna). She was a bit more relaxed and seemed to be having fun in Act Two as opposed to Act One. I did not like Lewis Stadlen as Horace Vandergelder.

Having four less members in the ensemble was quite apparent to me, especially in Put on Your Sunday Clothes and Before the Parade Passes By. It was the first time that Sunday Clothes didn’t bring tears to my eyes.

Analisa Leaming bulldozed her way through Ribbons Down My Back, and missed the nuance in the song the way Kate Baldwin sang it. Kristen Hahn was a very different Minnie Fay. Nic Rouleau was fine as Cornelius Hackl, but I most definitely preferred Gavin Creel and Christian Dante White in the role.

I contemplated leaving during intermission, but I wanted to see the Waiters’ Gallop. Although the audience was enthusiastic in their applause after that particular number, I personally thought it was sloppy and a bit out of sync. I missed the high kicks from some of the men in the Broadway production.

The one true highlight of the evening was the title song, and again the audience was quite enthusiastic with their applause.

I definitely plan on seeing it in Philadelphia when Carolee Carmello is Dolly. I would also like to see the tour in DC again if Jessica Sheridan goes on as Dolly.

I was in the rear orchestra, so I couldn't see any difference in the passarelle.

Updated On: 6/7/19 at 09:47 AM

Standing ovulation did occur during bows.

I've never seen that happen at any performance. Consider yourself lucky!