Cda’S ‘Hello, Dolly’ Impressive
“Hello, Dolly!” Thursday, July 6, Coeur d’Alene Summer Theatre, Schuler Auditorium, North Idaho College
The pleasures of the Coeur d’Alene Summer Theatre were in ample evidence Thursday on the premiere night of “Hello, Dolly!”.
Those pleasures include:
* A polished and energetic chorus, which handled the bright and clever choreography with aplomb.
* An outstanding 13-piece orchestra, making Jerry Herman’s classic score come alive.
* Excellent depth in the supporting roles.
* And, finally, a little touch of star power.
The star power came mostly in the form of Ellen Travolta, a Broadway and Hollywood veteran, as Dolly Levi. Travolta is not exactly Barbra Streisand when it comes to sheer vocal talent, but she certainly knows how to create a memorable comic character.
She delivered her lines with the raised-eyebrow aplomb of a Carol Channing, and got numerous laughs just in the way she stuffed the dumplings in her mouth at the Harmonia Gardens.
Travolta demonstrated complete command of the stage, sweeping through in her fancy turn-of-the-century hats. She made her big “Hello, Dolly!” number into a great deal of fun, posing happily on the grand staircase and drinking in the glamour of the moment. To put it in show-biz terms, Travolta really knows how to sell it.
The other bit of star power belonged to her husband, Jack Bannon, who played Horace Vandergelder. He is always a delight to watch, with his comfortable and laconic style. This character, an old miserly grouch, is not exactly Bannon’s type, but even when the role is a bit of a stretch, he has a way of making acting look easy.
The best thing about the CdA Summer Theatre over the years has been the depth of the talent, and this show continues that tradition. I was impressed with nearly all of the supporting roles, including an exuberant Nick Wheat as Cornelius, an easily excited Ryan Montgomery as Barnaby and a sweet and pensive Krista Kubicek as Irene Molloy.
Opening-night jitters were in evidence, though. There were a few too many blown lines, even by the two principals. This is a problem that we can forgive on opening night, but not for long after that. This is a professional theater, after all.
The chorus, on the other hand, appeared to be right on top of its game, well-rehearsed and precise. Michael Wasileski Ericson’s choreography was clever and whimsical. The dancers provided the two most enjoyable scenes of the show, “Dancing” and “The Waiter’s Gallop.”
In fact, you could make a case for the young ensemble members as the true stars of this show. Director Roger Welch deserves much of the credit for molding this unit into a crack outfit.
The CdA Summer Theatre’s production values have gone up every year, and that trend continues in this production. Maybe the grand staircase doesn’t quite match the one in the lavish Carol Channing version that came to Spokane a few years ago, but Mary Petrick’s sets are clever and well-done, especially the Vandergelder set and the millinery-shop set which revolves for an inside and outside view.
The bright and ruffled costumes were knockouts, designed by Judith McGiveney. They look even better under the well-done lights of Michael McGiveney, her husband.