This ”Dolly” deserves a big welcome back
“Dolly’s” back and (as they say in the song) it’s so nice to have her back where she belongs.
It’s been about 18 years since the Spokane Civic Theatre has revived this jaunty Jerry Herman musical, and yes, the Civic has done it up right.
This production features a brassy and lovable Dolly, Jan Neumann, a talented supporting cast and razor- sharp comic direction by the Civic’s artistic director Yvonne A.K. Johnson.
Neumann, of course, is the key to the entire enterprise. Some musicals might survive without a strong lead, but not this one, which became a career-making vehicle for both Carol Channing and Barbra Streisand. Neumann slips easily into those formidable shoes. She’s glowing, confident and commanding.
Her big, old-fashioned alto voice makes you think of Ethel Merman, but her comic persona reminded me even more of Bette Midler. She has the same knowing smile, the same easy stage presence and the same bigger-than-life charisma. From her first number, “I Put My Hand In,” to her big staircase entrance in the title song, Neumann played Dolly Levi as if she were born to the role.
Plenty of other talent is evident in this 40-person cast, especially in some of the comic supporting roles. I had forgotten just how funny this show can be, but Johnson brought the comedy to the forefront, especially in the priceless hat shop scene. Young Cornelius and Barnaby (played with talent and verve by Andrew Ware Lewis and Jimmy-James Pendleton) are trying to hide from their boss, Horace Vandergelder (played with Scrooge-like comic pomposity by Michael Hynes). The resulting scene is a classic farce, with people hiding in closets, emerging from under skirts and at one point, causing a table to walk across the room.
This is delicate comic territory. Strike the wrong tone, and it just seems silly. In the hands of this cast, it was deft, clever and utterly hilarious. You might find yourself a little embarrassed, in fact, by how hard you laugh at the old hiding-under-the-skirts ploy.
The musical numbers are plenty of fun as well, especially “It Takes a Woman,” “Put On Your Sunday Clothes” and the big dancing-waiters number “Waiter’s Gallop.” The choreography credits go to Troy Nickerson, Kathie Doyle-Lipe and Amanda Lochmiller.
Some fine voices are in evidence, especially Neumann, Lewis and Kendra Kimball as Irene Molloy. Gary Laing’s musical direction was first-rate, as he presided over a six-person combo in a pit at the front and center of the stage.
Funny comic supporting performances came from Pendleton, Jaime Mathis as Minnie Fay and Danielle Read as the wailing Ermengarde. The well-drilled chorus was like one big supporting character of its own.
The only quibble might be with the production values. The grand staircase is nowhere near as grand as it was in the Carol Channing revival that came to town in the ‘90s. But who expects it to be? Frankly the title song worked just as well on this staircase.
One aspect of the production was absolutely eye-popping. The costumes, designed and made from scratch by Susan Berger and Jan Wanless, are sumptuous and meticulous recreations of 1890s gowns, complete with corsets and bustles. Dolly looks gorgeous in burgundy in her big finale, but then again, even the chorus members are outfitted with just as much attention to detail.
The Civic has had a tough year, and as Johnson announced at the beginning of the show, the organization is still operating in the red. This show ought to make the cash registers ring. Horace Vandergelder would be smiling.