Hello, Dolly!

Hello, Dolly! has had a renaissance ever since Bette Midler’s 2017 smash Broadway revival. Jerry Herman’s hugely hummable score, coupled with Michael Stewart’s smart and funny book, make it the perfect musical comedy.

Toowoomba Chorale’s production of it may not be perfect, but it does have its joys, not the least being director/choreographer Bec Stanley’s terrific routines.

The central character with her outsized personality has been played by a host of comediennes, from the original Carol Channing on stage to Barbra Streisand on film. Yet we forget that the sweet-voiced Mary Martin introduced Dolly to London. Shannon Gralow, Toowoomba’s leading lady, a former Maria and Mary Poppins, was more of the latter. She sang it well, she got the laughs and her terpsichorean talents were extremely polished. It was a totally professional and winning performance and she looked great in the famous second-act red dress.

Opposite her as Horace Vandergelder was Justin Tamblyn, who played irascible with charm. Nimble on his feet, he led the male chorus in a testosterone fuelled “It Takes a Woman”. Best of all, however, were James Taylor’s Cornelius and Gabe Tiller’s Barnaby. They added joire de vive to the whole production whenever they appeared and their “Dancing” routine was a riot.

Sarah Van Tricht’s uncertain solo vocals marred what was otherwise an OK performance of Irene Molloy, whilst Briony Scotton’s Minnie Fay was ebullient and perky. “Elegance”, with all four co-leads had great style and spirit.

Jack Lee and Adelaide Cool coupled well as Ambrose and Ermengard, but it was dependable Vicki Bravery who brought some delicious low and vulgar comedy to Ernestina Money’s cameo.

Amelia Atzeni’s set-design was totally lacking a period feel of New York City circa 1900, Debra Nairn’s colourful costumes went some way towards making up for it as did Bec Stanley’s choreography. The orchestra under Neil Roche-Kelly had difficulty at times with the brass-heavy orchestrations, but Ben Hunt’s lighting plot was a big plus.

Finally big bouquets to James Taylor’s tender lump-in-the-throat version of “It Only Takes a Moment”. It captivated.

Peter Pinne