Hello, Dolly! - London Palladium (2024)

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Saw it last night (10 Jul with the break in Act 1 due to an incident in the dress circle). It’s 3.5 stars from me. With some more practice and tightening it could get to 4.

Very surprised at how vastly different the book and score were from the last Broadway production (luckily saw it 3 times). It’s all played rather differently… less energy, fewer laughs, could really do with more pace. It’s also less colourful. They really need to get it 10-15 mins shorter.

There’s more emotion in Imelda’s performance, quite slow to start but very likeable. Her vocals were not as strong as in previous musical roles… though that could be the sound quality? Other leads were fine. They may get better as the run continues.

Either the sound quality is poor in the rear stalls or they weren’t singing loud enough.. maybe they need to so something about the levels, some of the vocals were unrecognisable if you didn’t already know the words?

The staging is perfectly fine and I thought the big screen on the back wall was very effective. The staircase is attractive but lacks the “big reveal” for Hello Dolly. Dolly’s costumes also less extravagant.

Overall I thought the performances were a bit loose and at times messy - especially (and sadly) the “waiters gallop” section - and hopefully that will improve over time as they sharpen things up.

Superb orchestra. Will return for another look later in the run!

[singingswimmer]

Jul 6, 2024 22:29:56 GMT damaskanddark said:

Jul 6, 2024 22:06:56 GMT greenandbrownandblue said:

There's an overture and entr'acte - both played traditionally with the curtain down, sounded great though could be louder.

After overture curtain rises to reveal Dolly, who sings Just Leave Everything To Me which goes into Call On Dolly.

So different from the traditional Call on Dolly ensemble opening leading to the train entrance and Dolly-putting-newspaper-down entrance ?

I'm absolutely thrilled that this production replaced "I Put My Hand In" with "Just Leave Everything to Me" and added "Love, Look in My Window" and "Penny in My Pocket." Would you be able to provide the full song list? I've tried to find it online.

[theatrefan62]

http://instagram.com/p/C9R9oFVu9d1

[singingswimmer]

Jul 6, 2024 23:30:41 GMT Oleanna said:

Jul 6, 2024 23:05:04 GMT mattnyc said:

”Penny” is in there, yes

As is “Love, Look In My Window”, but not “World, Tell Me Back”.

Was an intro added to "Love, Look in My Window"? I know most Jerry Herman songs have an intro but for some reason this one just starts at the chorus, at least on a few different recordings. I thought maybe the intro that was written specifically for "Love is Only Love" for the film might have been used as the new intro to "Love, Look in my Window." Especially since part of the melody of the intro is taken from "Just Leave Everything to Me."

Also, do you know if the bridge that is in the published version of "It Only Takes a Moment" was included in this production? The bridge is heard in this recording by John Barrowman: 

Thanks! I'm hoping to find a full song list of this production at some point.

[londonmzfitz]

Looking at Saturday 20 July 7.30 and the side stalls Row B are now £20 ... (2.30 are £65). Following Monday / Tuesday they are £55, Wednesday they are £65,

[nash16]

Jul 11, 2024 12:13:42 GMT theatrefan62 said:

http://instagram.com/p/C9R9oFVu9d1

The "Losing My Mind" tribute!    Features in both acts.

[merrilywe]

anyone have any feedback on seats B24 or B10 in the stalls? or C11? thank you!

[appoul]

Dynamic pricing seems to work for this one! It's 6.12pm and three single stalls seats (central row J) have been reduced to 79.50 each for tonight's show.
Central row D at the Royal Cirlce is also reduced (and these are not single seats).

[david]

With so many of us buying the front row stalls seating maybe we should get little plaques for the seats - “dedicated to TheatreBoard” ?

[JJShaw]

Saw last night, a very pleasant 4* (but why no comma in the preshow title sign lit up, did the budget run out for an extra couple bulbs?!)

The orchestra sounded gorgeous, we have been spoilt recently with big orchestras but this one sounds the best in my memory, stunning. I loved the set with the travelator being used the best one has been used in a show, and the back wall projections to look like old style drops with flats in front really made it feel old timey yet slick.

I don't know the show inside out like some others but I really enjoyed the addition of Just Leave Everything... (prefer it over Hand In) and the little music box moment of Love... Window.

Loved everyone's performances, all the women in particular were fabulous. Only person that stuck out oddly was Barnaby who I guess was told to pretend like he's in a production of Annie? Props to Minnie and Ermengarde who were really fun. Horace was great but it really highlighted how little they do in act one, and sadly his act 2 opening number while nice for them to have material isn't really a great song.

Imelda was great as per, nothing revolutionary but when you're a consummate pro like her you can only be consistent with that. Her voice sounded really vocally healthy and it looked like this show was a breeze for her and she was just having fun. I liked all her acting scenes. It did end up being quite a long night (I'd say we finished a little after 10:10 and we went up pretty much on time) maybe it will pick up a bit.

It did feel a little over choreographed in places, particularly the title song and some extended dance breaks in act one. I loved 'Sunday Clothes' and it sounded like they'd slightly syncopated a few lines which was really fun and I think that was the best number of the night. 'Parade' to me fell a little flat but there's really not much to do with that number. I imagine this will pick up a fair few award nominations even though it will have long closed come Oliviers next year.

[Jon]

Just come back from seeing this and what a wonderful, feel good musical this is. I've previously saw the recent Broadway revival with Bernadette Peters as Dolly but this is different in many ways while sharing some of the similarities. I wouldn't say it's darker because it's still funny and filled with joy but there are more sombre moments which work to humanise Dolly Levi as well as Irene Molloy and Horace.

Imelda Stauton is glorious as Dolly, she's not the most amazing singer but she has the audience in the palm of her hands, you can totally believe her as Dolly. Jenna Russell as Irene is also fantastic as is Andy Nyman as Horace although Horace is a slightly thankless role but he's good and Penny is my Pocket is a great addition to fill out his role.
The set is beautiful and the money is the stage with various set pieces that are use really well as well as beautiful costumes and great choreography.

This deserves to be a success and judging by the standing ovation and roars of applause, it's a hit with the audience that's for sure.

[bobbievanhusen]

Why is everyone comparing it to the Bette Midler/Broadway version when it's not a transfer of that production? And who gives a hoot if she's wearing a red dress or a green one?

Imelda is not the obvious casting for Dolly, but she really wins you over and she's immensley moving in the role. This prodution plays to her strengths and it shows. Thamk god she doesnt come on and try to do it like Carol Channing or Bette Midler.

[singularsensation]

Got I3 & I4 stalls for Rush tickets yesterday and they were fabulous seats for the price!

Absolutely loved the show - thought Imelda sounded a little shaky at points during the first act but boy did she more than make up for that in the second. Incredibly acted of course - she does comedy and drama so well, one of the finest talents we have in my eyes.

Elsewhere I adored Jenna Russell (even if her accent seemed to come and go by the second half!) and thought Harry Hepple did a great job as well. I’ve not seen the most recent Broadway revival so no idea how it compares but there seemed to be plenty of money on the stage - wonderful set pieces, large cast etc.

Some minor niggles but nothing that would stop me giving this 5 stars!

[nash16]

Jul 13, 2024 3:28:02 GMT bobbievanhusen said:

Why is everyone comparing it to the Bette Midler/Broadway version when it's not a transfer of that production? And who gives a hoot if she's wearing a red dress or a green one?

Imelda is not the obvious casting for Dolly, but she really wins you over and she's immensley moving in the role. This prodution plays to her strengths and it shows. Thamk god she doesnt come on and try to do it like Carol Channing or Bette Midler.

Probably because watching that production gave many of us who saw it one of the greatest nights at the theatre that we’ve had. The atmosphere was incredible, and the show was an uplifting, epic joy.

This is not that show; it’s the psychological version of the store pushed forward, which also works.

But if one of Hello, Dolly’s gifts is making an audience feel uplifted and amazing, that 2017 production just cannot be beaten. As the Palladium one is proving. (Which works, but doesn’t have you on cloud 9 from Overture to Bows).

[Jon]

I do think if this production had just copied the 2017 Broadway production, it would have not worked as well.

[Scswp]

Some great reviews on here.
I saw the Bette Midler version a few years ago and enjoyed it a lot, but I’m looking forward to seeing a different take on this this afternoon.

[Being Alive]

Staunton would not have worked in the 2017 revival - it would have been a disaster.

They've been very clever here in giving her almost an entirely different show to work with, which she does with great skill and moulds to her strengths.

It works, and it's lovely to watch.
I agree that this doesn't come close to the sheer delight and warmth of the Broadway revival though (which is arguably the best night I ever spent in a theatre)

[tlyon4784]

Just got back from tonight’s performance and honestly it was a 5 star production for me. The orchestra particularly shone for me. The orchestrations based on the movie were a delight to the ears. I saw the Broadway revival with Bernadette and it’s different but in a good way. I feel it caters to a British audience and isn’t as hammy as the 2017 revival. A fantastic production! I can’t wait to go back.

[A.Ham]

I really enjoyed this last night! Yes it’s a bit of a silly and flimsy plot, but it was just so much fun. Some great songs, really enthusiastic performances from the leads and ensemble, and nice to see they’d clearly spent a fair bit on the set and costumes. And last but not least, the orchestra sounded fantastic.

The book scenes perhaps slowed down the pace a little, so it was a delight every time the orchestra started up, and Imelda really was brilliant - she looked genuinely joyous and her enthusiasm rubbed off on me and seemingly the whole audience. A semi standing ovation after Hello, Dolly - I didn’t get up but others did and several other songs ended to rapturous applause and whoops from what looked to be a full house. With best part of 2,200 seats to fill let’s hope they can keep that going. Can’t not mention Hepple and Huntley though as they were fantastic - perfect comic timing, hugely expressive and very funny.

I was in A12 in the stalls, dead centre behind the conductor. As others have said, the extended section in the middle of the stage does further jut into sightlines, and everyone was missing from the knees down when they were more than halfway up stage, but for the value for money, and the wonder of being so up close for several moments played at the front of the stage, it was totally worth it. I would like to go back and see it from the dress, so will be keeping my fingers crossed for lottery seats at some point before the end of the run.

[nash16]

Jul 14, 2024 13:15:05 GMT A.Ham said:

I really enjoyed this last night! Yes it’s a bit of a silly and flimsy plot, but it was just so much fun. Some great songs, really enthusiastic performances from the leads and ensemble, and nice to see they’d clearly spent a fair bit on the set and costumes. And last but not least, the orchestra sounded fantastic.

The book scenes perhaps slowed down the pace a little, so it was a delight every time the orchestra started up, and Imelda really was brilliant - she looked genuinely joyous and her enthusiasm rubbed off on me and seemingly the whole audience. A semi standing ovation after Hello, Dolly - I didn’t get up but others did and several other songs ended to rapturous applause and whoops from what looked to be a full house. With best part of 2,200 seats to fill let’s hope they can keep that going. Can’t not mention Hepple and Huntley though as they were fantastic - perfect comic timing, hugely expressive and very funny.

I was in A12 in the stalls, dead centre behind the conductor. As others have said, the extended section in the middle of the stage does further jut into sightlines, and everyone was missing from the knees down when they were more than halfway up stage, but for the value for money, and the wonder of being so up close for several moments played at the front of the stage, it was totally worth it. I would like to go back and see it from the dress, so will be keeping my fingers crossed for lottery seats at some point before the end of the run.

Lovely review (and well done for not ovating!! 👏👏).

[bram]

An enjoyable evening rather than an exciting one. But that is the fault of the show rather than the direction. It is a flimsy plot but Imelda powers he way through it so you almost forget how silly it is. Gorgeous to look at   Fine cast throughout including a fabulous ensemble lovely to look at and an absolute delight to hear. Well worth seeing ,but not quite. Five stars. 

[matildaswinton]

I’m gonna play devils advocate and go out on a limb here for the plot of Hello, Dolly!

It’s about a widowed woman living hand-to-mouth and eking out an existence doing random jobs and matchmaking in the suburbs at the turn of the century. In her past she was the toast of Manhattan, beloved by servers at fabulous restaurants. She and her husband were the life of the party. And now, after years of living alone and grieving, she decides to get back in the game. She formulates a plan to bag the town half-millionaire whom she KNOWS is a project, but whom she also knows needs love and has beautiful potential. And she wants to spend his money on the potential of others, enjoy life and make everyone and everything more beautiful. Within her plan, she’ll make three other love matches: Ermengarde and Ambrose, Barnaby and Millie, and Cornelius and Irene. Cornelius is 35, working a dead-end job with an horrible salary. Irene is a widow who wants to be noticed and appreciated again. The others are young and hungry for love that is disallowed by their families or their own fears. And we cheer these lovers on as Dolly fights tooth and nail against the status quo, for all who are deserving of love (including a crotchety old man who’s never been taught how good it feels to give).

I love this plot. It’s celebrates the beauty and possibility of life at any age. And I see this in Streisand, Midler, Buckley, Murphy, Peters… any actress who plays this part no matter the production.

What can I say? It’s for me.

[craig]

Jul 14, 2024 17:04:39 GMT matildaswinton said:

I’m gonna play devils advocate and go out on a limb here for the plot of Hello, Dolly!

It’s about a widowed woman living hand-to-mouth and eking out an existence doing random jobs and matchmaking in the suburbs at the turn of the century. In her past she was the toast of Manhattan, beloved by servers at fabulous restaurants. She and her husband were the life of the party. And now, after years of living alone and grieving, she decides to get back in the game. She formulates a plan to bag the town half-millionaire whom she KNOWS is a project, but whom she also knows needs love and has beautiful potential. And she wants to spend his money on the potential of others, enjoy life and make everyone and everything more beautiful. Within her plan, she’ll make three other love matches: Ermengarde and Ambrose, Barnaby and Millie, and Cornelius and Irene. Cornelius is 35, working a dead-end job with an horrible salary. Irene is a widow who wants to be noticed and appreciated again. The others are young and hungry for love that is disallowed by their families or their own fears. And we cheer these lovers on as Dolly fights tooth and nail against the status quo, for all who are deserving of love (including a crotchety old man who’s never been taught how good it feels to give).

I love this plot. It’s celebrates the beauty and possibility of life at any age. And I see this in Streisand, Midler, Buckley, Murphy, Peters… any actress who plays this part no matter the production.

What can I say? It’s for me.

Completely agree! I'm not suggesting the plot is particularly meaty but it's not without substance. I loved seeing Imelda bringing out more of the character of Dolly too, not that I don't also love the mugging star turns that are more commonly associated with the role!

Anyway, we were also in attendance on Saturday evening and had a really wonderful time. I will say, and it's a common thread for those of us lucky enough to have seen it, this didn't quite scale the heights of utter joy of the most recent Broadway revival. I don't think it was trying to though, and it was wonderful in its own right.

I always felt that Imelda would make a fantastic Dolly, and that was borne out not only in her successful humanisation of the character and in Dolly's grief. I think what many were more worried about was Imelda's ability to match some of the iconic comic turns the role has attracted, and there was no need to worry! Imelda's Dolly exuded joy and her comic timing was exceptional.

The entire supporting cast were uniformly excellent, with a particularly hilarious show stealing turn from Emily Langham as Ermengarde.

The set was pretty magical and the orchestra were sublime. I found Bill Deamer's choreography to be a hit and miss, with a few numbers such as the Waiter's Gallop just not quite as show stopping as they could have been. Some of the costumes were fantastic, but some of the (particularly female) ensemble outfits broke the illusion a bit.

I have a significant preference for the bombastic Broadway recordings of the show to the movie score, and this production definitely leans more towards the movie score, but it did lend itself well to Imelda exploring a very pleasant side of her musicality.

A beautiful, joyful evening that I would recommend without hesitation. Not quite a 5 star experience, but not far off.

[harryb1]

Hello, just wondering what time the show finishes - as I'm booking transport at the moment. My train is at 22:30 from London St. Pancras. Do you think I'll have time to get out of the theatre, through the Tube, and to the train on time (I'm a fast walker!). I know it seems silly, but it'd be a really great help

[Jon]

Jul 14, 2024 22:27:36 GMT harryb1 said:

Hello, just wondering what time the show finishes - as I'm booking transport at the moment. My train is at 22:30 from London St. Pancras. Do you think I'll have time to get out of the theatre, through the Tube, and to the train on time (I'm a fast walker!). I know it seems silly, but it'd be a really great help

It finished at 2210 when I saw it but it might tighten up as previews progress. 2230 is a little risky though as there is a chance you not be able to get to St Pancras by 2230 if there are issues with the Victoria Line.