If you’re at all familiar with Louis Armstrong, you likely can’t hear the phrase “Hello, Dolly!” without hearing it sung in Armstrong’s trademark growl. In fact, the show’s original title was supposed to be “Dolly, A Damned Exasperating Woman” until producer David Merrick heard Armstrong’s version of the song and (thankfully) retitled the show before it opened on Broadway in 1964.
If Armstrong’s unique voice signals the touchstone version of the title song, it could also be said that the show itself epitomizes the heyday of musical theater: It’s big and brassy, with only a paper-thin plot holding it together, featuring laughs aplenty from uncomplicated characters, some of whom are so easily confused and goofy that, were we to encounter them in real life, they might be mistaken for people who had eaten lead paint as children.
But it is tons of fun — exactly what musical theater is supposed to be. Director Michael J. Duran, who put together the current production at Boulder’s Dinner Theater, toured with Carol Channing, the original Dolly, in the cast of a 1980s revival of the show, and so has a special feel for its charm.
The story revolves around — go figure — Dolly, played here by Alicia Dunfee, a widow and professional “meddler” who makes a living in a variety of unlikely ways. But mainly she’s a matchmaker, currently working on arranging a marriage between Yonkers “half-a-millionaire” Horace Vandergelder (Wayne Kennedy) and milliner Irene Molloy (Tracy Warren).
But it doesn’t take Dolly long to decide that she’d rather snag Horace for herself. She launches a campaign to manipulate him into deciding that Irene is unsuitable by suggesting that Irene’s husband didn’t die of natural causes, and casually placing herself in his sights while appearing to point him toward other women.
Along the way, two of Hor- ace’s employees, Cornelius and Barnaby (Brian Jackson and Brian Cronan, respectively) are accidentally ensnared in Dolly’s web when they sneak off to Manhattan seeking an adventure and wind up in Irene’s hat shop just as Horace arrives.
Let the games begin.
The musical is based on a 1938 Thornton Wilder farce, originally titled “The Merchant of Yonkers,” later reworked into “The Matchmaker,” and it owes much of its humor to the screwball comedies of that era.
But it also owes a debt to an even older tradition, the ancient trickster tales told in many cultures wherein clever underdogs win out over stronger opponents. Dunfee’s Dolly is a widow, and of the “weaker sex,” but she is also a fast-talking con artist with a strong streak of Bugs Bunny, as well as B’rer Rabbit trying to “avoid” the briar patch of wedded bliss.
Such a character could easily fall flat — and the show along with her — but as befits a performer of her experience, Dunfee delivers the goods. The comic timing between her and Kennedy is impeccable, as it is between the two Brians, Jackson and Cronan, as Cornelius and Barnaby.
Dunfee’s voice soars as well, especially on “Before the Parade Passes By.” Brian Jackson as Cornelius also raises the bar, bringing a heartfelt trueness to “It Only Takes a Moment.” Another highlight is a gorgeous rendition of “Ribbons Down My Back” by Tracy Warren as Irene — she carries off a genuine earnestness without being overwrought.
Notable too is the six-piece live orchestra, led by Dunfee’s husband, Neal. Crammed into some aerie above the stage wings, the musicians are nonetheless incredibly sharp, supporting the performers without overwhelming them as they caper about on Amy Campion’s elaborate, gorgeous sets below.
The dance numbers are somewhat uneven; it’s apparent that some pieces got more attention than others, notably “The Waiters’ Gallop,” which is a fantastic whirl of activity. Also, difficulties with light cues and getting sound levels right was a distraction — seemingly for the cast as well, as they appeared to be somewhat tentative as the show opened.
But most of these problems are the kind that will quickly sort themselves out.
Overall the show is a delightful homecoming of sorts for Duran, who has infused his cast with the tremendous love he clearly feels for this show, delivering a fun ride for all.
“Hello, Dolly!” *** (out of four stars)
Musical comedy. Presented by Boulder’s Dinner Theatre, 5501 Arapahoe Ave., Boulder. Book by Michael Stewart. Music and Lyrics by Jerry Herman. Directed by Michael J. Duran. Starring Alicia Dunfee, Wayne Kennedy, Brian Cronan, Jessica Hindsley, Brian Jackson, Tracy Warren, Scott Beyette. Through Feb. 26. 2 hours, 30 minutes. 7 p.m. Wednesdays, and select Mondays and Tuesdays; 7:45 p.m. Thursday through Saturday; 1:30 and 7:45 p.m. Sundays (dinner service 90 minutes before). $35-$56. 303-449-6000 or bouldersdinnertheatre.com
