‘Hello Dolly’ and Forte Theatre Are a Perfect Match

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Photo Via Forte Theatre Company - Facebook

'Hello, Dolly!'

Cast of 'Hello, Dolly!'

Don’t be surprised if you leave a performance of Forte Theatre Company’s Hello, Dolly! humming the title tune on your way out of the theater. That’s the way the late Jerry Herman (who wrote the music and lyrics) intended it to be. 

A spectacular, joy-filled production of Dolly opened this weekend at the Saber Center for the Performing Arts in Franklin. It continues through April 21. 

This 1964 show, set in New York in the 1890s, has all the bells and whistles of an old-fashioned musical: fabulous sets, gorgeous costumes, a huge (and talented) cast, an impeccable score and a gold-plated legacy. When the show first opened on Broadway, it became an immediate sensation. It cemented forever the name of actor Carol Channing with the character of Dolly Gallagher Levi, a conniving, turn-of-the-century matchmaker who effortlessly matches up men and women with the institution of matrimony. Dolly is also a middle-aged widow who must eventually think of her own future. 

The original Broadway run of Hello, Dolly! won 10 Tony Awards, and the musical has spun off countless revivals and national tours since then. It is viewed as one of the best-known and most-beloved musicals of the last generation. It has dozens of laugh-filled moments, plenty of charm, and one of the best scores of its generation. 

Many folks will also recall the 1969 film of the same title, starring Barbra Streisand and Walter Matthau. 

It's exciting to report that Forte’s Dolly, in the form of Candace Decker, more than holds her own in this production, under the able direction of Artistic Director Randall Dodge. Decker is able to focus the audience’s attention squarely on her, which is how the original production (book by Michael Stewart) was designed.  

With her towering presence and even more powerful voice, Decker is a one-woman dynamo who easily takes center stage and seemingly stays there for the entire performance. Decker is a wonder to behold, especially when she dons her regal red finery for that showstopping Act II entrance at the Harmonia Gardens. 

Decker may remind older theatergoers of Ethel Merman, the vocal powerhouse and Broadway star of that time. Merman was, in fact, first offered the role of Dolly. When she turned it down, the part went to Carol Channing. Merman did eventually play the part in subsequent productions of Dolly, as did many other notables through the years, including Bette Midler. 

Wisconsin Play Inspires ‘Dolly’ Storyline 

It should be noted that the musical was based on a play, The Matchmaker, written by Wisconsin’s most well-known playwright, Thornton Wilder. Wilder, who was born in Madison, also wrote the acclaimed and Pulitzer Prize-winning play, Our Town. The play is set for a spring Broadway revival, with a starry cast led by Jim Parsons (TV’s “The Big Bang Theory.”) 

In the irrepressible role of Forte’s Dolly, Decker easily transports audiences through the musical’s memorable hits. In addition to the title tune, Decker delivers “Put on Your Sunday Clothes,” “Before the Parade Passes By” and “So Long Dearie” with panache. She even tosses out a few bumps and grinds on occasion—she is definitely not the pinnacle of propriety.  

Like Dolly, the rest of the cast leans heavily toward melodrama. One certainly expects this from the grumpy “half-a-millionaire” widower, Horace Vandergelder. The prosperous feed store merchant shows his stingy side when his clerk, Cornelius Hackl, is denied a request for one evening off per week. As Vandergelder, Karl Miller is a gem. He is the perfect foil for the outgoing, munificent Dolly, who sees herself as Vandergelder’s next bride. Once hitched, Dolly vows to spread Vandergelder’s money, “like manure, all over the place.”  

However, Dolly’s first task is to put the odds in her favor. She casually makes a few negative remarks about Irene Malloy, a widow and owner of a New York hat shop who Vandergelder has his eye on. Unimpressed by Dolly’s comments, Vandergelder sets out to see Mrs. Malloy that same afternoon. Still, Dolly is able to momentarily get his attention when mentioning a young heiress who may also have potential. 

Decker also channels some tender moments when she “speaks” to her dead husband. She wants him to give her a sign that he approves of her relationship to Vandergelder. 

A Large, Talented Cast Creates Stage Magic 

There’s more than one match that merits attention in this cast. As Cornelius Hackl, Ryan Cappleman (also the show’s choreographer) takes initiative during Vandergelder’s absence to make his own escape to New York, accompanied by his younger protégé, Barnaby Tucker (Owen Groth). The two actors are sensational together, whether tossing jokes at one another in the feed store, or scrambling for cover inside Mrs. Malloy’s New York hat shop. Their gift at physical comedy is exceeded only by their dancing skills. Each one gets a chance to strut their stuff, to the audience’s amazement (and applause). It is no wonder that their characters captivate the hearts of Irene Malloy (Vanessa Schroeder-Weber) and her young seamstress, Minnie Fay (Abigail McBee). 

Irene, in particular, finds Hackl far more attractive than the older, irascible Vandergelder. Schroeber-Weber sings about her dreams in a sweet, soulful tune, “Ribbons Down My Back.” Hackl responds in Act II with his love letter to Irene, “It Only Takes a Moment.”  

While space restrictions prevent more descriptions of particular characters, one that requires mention is Megan Wilson as Ernestina, a friend of Dolly’s who is disguised as an heiress. She shows up at the elegant Harmonia Gardens looking like a deranged floozy. Vandergelder takes an immediate disliking to her, but manners prevent him from ditching her at first sight. Their uncomfortable interactions (at least for Vandergelder) are downright hilarious. While sitting at their dinner table, Ernestina longs for the orchestra to strike up a tune so that she can dance the hoochie-cootchie. (While younger theatergoers may not have a clue as to what this dance entails, Ernestina is eager to provide a brief example for their education.) 

Yes, some of the references in Hello, Dolly! may not have endured the test of time. Such is the fate of references to the New York gilded-age elite, such as the Astors, Vanderbilts and JP Morgan.  

Oh, well. There are plenty of other pleasures to enjoy in Hello, Dolly! Chief among them is the famed waiter’s dance at the Harmonia Gardens. Upon hearing of Dolly’s arrival, the waiters rush around the stage in frenzied delight while carrying wobbling plates, trays filled with food and even a few outsized cooking tools. Keeping the frenzy down to a minimum is Bob Zimmerman as the cafe’s maître d’, Rudolph. This gruff-talking German directs the waiters with a whistle, much as a police officer might do during rush hour traffic. Despite his minor role, Zimmerman delivers a Broadway-caliber performance. 

Cappleman’s choreography for the waiters pays homage to the show’s original choreographer, Gower Champion, while adding some original twists. One sees the red-vested waiters waving their white hand towels while executing a series of intricate dance moves filled with high kicks and other spectacular displays. 

Production elements here are just as glorious as the cast. Robert Sagadin’s set design fully immerses us in the turn-of-the-century era with a palate of colorful backgrounds. Nikki Heiniger’s costumes fill the stage with long, flowing skirts in pastel tones, accompanied by wide-brimmed hats and perky white parasols. The men look dapper, too, in their bowler hats. When the cast sings, “Put on Your Sunday Clothes,” one can easily see that the characters have taken their own advice. Lighting design is provided by Abby James. 

The show’s gorgeous score is under the musical direction of Alex Chilsen. A handful of musicians cannot replicate the sound of a full orchestra, but live music of any kind is preferable to using canned music. It’s clear that Forte has pulled out all the stops to make their final show of the current season a memorable one in every respect. Those who want to bask in one of the finest musicals of yesteryear should definitely catch Hello, Dolly! before her train pulls out of the station for good.   

Hello, Dolly! continues through April 21 at the Saber Center for the Performing Arts, 8222 S. 51st St., Franklin. The show runs about 2 hours and 30 minutes, with an intermission.   

Parking is free and easily accessible. For tickets, go to ForteTheatreCompany.org, or call the box office at 414-366-3634.