OVERALL PRODUCTION

The stage shape is not an easy performance area - wide and not very deep and I suspect with very limited wing spaces, and this does hinder grouping and ambitious choreography and of course the entering and exiting of a large cast, and another drawback was the lack of a pit for the Orchestra. I congratulate the Company for overcoming some of these difficulties. The Set was designed to compensate with its bold flats and insets although I did feel it was a mistake to paint the side arched exit flats in a pale wash as this drew the eye out SR and SL. The overall pace of the production was good with smart cueing and crisp articulation, but with some slowness of chorus exit and stiff blocks and straight lines of grouping - pity not more small groups of chorus with distinct characters and entering/exiting with different energies and with varied characterised walk/run movement patterns. Characterisation of the leads was projected with strength and period style, and all had good American accents. The Musical Direction was well modulated and only rarely drowned the stage performance - I was impressed with the Orchestral quality and recognise the problem of the musical sound projecting out in front of the singers. An effective use of young Majorettes for the Parade scene coming through the audience.

This was a well focused and sincere production which showed an excellent teamwork and the strong energy of a committed Company who related well to each other on stage.

SINGING

The Opening number was strong and well projected with a lively and energetic input. ‘I Put My Hand In’ from Dolly was a little insecure with top notes and wisely she ‘spoke’ pieces of the number with good effect. The following ‘It Takes A Woman’ came over with strength and fine input from Horace. ‘Put On Your Sunday Clothes’ was well characterised by the Company and with good articulation. Mrs. Molloy with "Ribbons Down My Back’ was delivered with a fine pitch and breath control, well modulated and with lovely characterisation. ‘Motherhood March’ was unfortunately insecure from the three singers and with a general lack of pitch and again ‘Dancing’ was often insecure with musicality. Dolly was insecure with input into ‘Before the Parade Passes By’ but the Finale of Act 1 was delivered with energy and style by the Company. Act 2 and ‘Elegance’ was a fine number with good musicality and characterisation and good harmony. ‘Hello Dolly’ was delivered with good harmony from the Waiter’s Chorus but I felt the number lacked sparkle and pace. The solo of ‘It Only Takes a Moment’ was delivered with some sliding of notes and nasality and lacked a strong lyrical quality. ‘So Long, Dearie’ was lively and well characterised. The Finale was delivered with strength and good vocality.

Overall the singing input although well characterised, lacked security of pitch at times.

ACTING

DOLLY - A performance with excellent articulation, lively energy and strong focus. Throughout the singing input was insecure particularly with the higher notes, and the performer had difficulties with breath control which could have been because of some breathing problems (I noticed she often had her hand on diaphragm area). A very attractive Dolly with a good sense of timing, but the repetitive hand gestures, bag swinging and hands on hips was very ‘modern’ and at times became predictable and distracting. The big scene in Act 2 was not as sparkling as it could have been and although the performer had energy there was an insecurity during the movement routine with the Waiters and her head often looking down (very high modern shoes) and again an insecurity with the repetitive taking off and putting on of gloves during the Horace table scene, and the crossing of legs (very modern and not in character or period style). The performer has undoubted fine ability and a wonderful energy and vitality, but this Dolly was played in a very contemporary musical theatre style rather than with a fin de siecle period style. A performer with a strong stage presence.

HORACE - A fine accent with a good crustiness and short tempered irritability - in fact an ideal Horace was characterised. A good singing input and well projected dialogue. His dealings with his Niece, Staff and with Dolly, were all performed in good style and with well timed repartee and reaction. He moved well and his body language and exits and entrances were all in fine bad tempered character. He related well with Dolly and their pieces of dialogue were strongly projected with good vocality.

AMBROSE - A good accent and well projected dialogue. The opening piece with Dolly was well cued and timed and set a good opening pace. He related well with Ermengarde and was suitably anxious and ‘in love’. Good input in the Polka scene. A well sustained performance.

ERMENGARDE - I always feel that this could be an unrewarding role as all she really does is cry. The performer cried excellently with varied cries for each occasion and she moved well and with good body language to accompany the various crying. She made this role memorable for me with her excellent presence.

CORNELIUS - The more dominant character of the boys in Vandergelder’s store and the performer showed good all round skills with good timing and cueing of dialogue. Fine comedy relating with Irene in the Hat Shop and well timed "No! No! No!" in response to Horace. Good movement skills in the following ‘Dancing’ piece. Again secure input in the lovely comedy piece about the lack of money in Harmonia Gardens. A strong and focused performance.

BARNABY - He related well with Cornelius and played the shyer character well. He had good all round performance skills and supported well with his fine sense of comedy play and timing. Another fine performance of strength and excellent focus and relating.

MINNIE - A very lively performance with a good sense of comedy play but the dialogue was delivered at a fast pace and lacked crisp vocal projection to be fully appreciated. Good movement skills and fine relating to Irene and Barnaby.

IRENE MOLLOY - I was impressed with the vocal colour which marked her dialogue - a range of pitch which marked both speech and singing. Her input in the Court scene was very good and well projected. A strong presence and good sense of timing and drama and controlled body language.

ERNESTINA - A good vocal projection of dialogue with a good raucous edge and flaunting body language and movement to match. A good sense of comedy play and relating with Horace - she projected the character well.

RUDOLPH - This was a lovely characterisation. A super accent and I admired the ‘control’ he demonstrated over his staff. His body language and movement was very precise and upright and he made an excellent Major Domo. His input in the Court scene was excellent with well timed comment. A focused and finely observed performance.

JUDGE - A strong vocal input and with control. I liked his sense of comedy play - and the nose blowing and use of his hanky. A good cameo role.

CHORUS WORK

The singing input was strong and with some good harmony work. The movement was in good period style and costumes were worn well. All the exits were very slow and I realise there would not be much room in the wings but even so it could have been much crisper and quicker - this is a production point mentioned in Overall Production. I felt that the chorus could have been composed of individuals with specific characterisation - flirty, shy, gossipy, formal, always late, snobby, etc., and in groups rather than straight lines or blocks. Having commented on this aspect, I congratulate the chorus on smiles and focus on the action - and there was obvious good team work especially in the Court scene which came over with strength and energy.

CHOREOGRAPHY & MOVEMENT

Choreography was of necessity simple with the limited acting area, and was in period style. I liked the use of ‘freeze’ at the opening and at the end of ‘Elegance’ and also the clever use of chorus backs in the Parade before turning to see the Majorettes come through the audience. There was a lot of use of straight lines and two blocks of chorus and I felt that smaller groups with pairings and relating within, would be a more interesting way of grouping and moving the chorus. The brisk walks of the Waiters was a good way of using space and modifying a ’Waiters’ Gallop’. I was not impressed with the Dolly/Waiters’ routine and the straight line - but again space is a problem and it requires some very considered thought and practice to overcome this lack of space - perhaps putting the Waiters in pairs with Dolly and each with a different routine? The Polka was managed successfully within the space. Overall the choreography was within the scope of the Company and the space.

ORCHESTRA

This was excellent! A super combination of instruments creating a lovely sound. The Overture was with lively pace and well modulated with fine Brass input. There was only instance when the Orchestra drowned the singing and that was ‘Put On Your Sunday Clothes’, but the overall modulation and sympathy was first class. Underscoring was always sensitive to mood. Excellent light Percussion input in the ‘Dancing’ number. Good musicality and modulated Entr’Acte, and fine input in the ‘confusion’ scene after the Polka. The Orchestra gave an excellent support to this production of ‘Hello Dolly’.

COSTUMES & MAKE-UP

I noted the Costumes were mainly hired - and they looked very good and in excellent style. Dolly looked lovely in all her outfits. I appreciated the pastel pinks and blues/lilacs of the opening, and the all the male outfits were again in good style. Wardrobe should have seen to Irene’s petticoat which was always trailing well below her dress hem line for each outfit, and did spoil the effect of the smart Milliner. The one really jarring note was the contemporary New York Policeman with short sleeved shirt - it did stand out! Waiters looked super. The make-up was good and with excellent hair styles and moustaches in period style.

LIGHTING

Good overall bright lighting which suited the upbeat Musical. Use of spot for Solo and Leads was effective and well cued. The use of the Cyc was again effective but I did think that there could have been more use of colour with the lighting. Good light coming up on the New York skyline and then dimming to centre on the Majorettes at end of Act 1. I found the constant dimming and coming up of the lights on the Insets during the Harmonia Garden scene a little ‘dizzy’ and wondered if it could have been more subtle. - good use of red here. Lighting in the Court scene was effective on the groupings.

SET(S)

The overall Set design was very good and as mentioned in Overall Production suited the wide acting area. The pale flats SR and SL were a great distraction and light bounced off - could have been painted a pale brown to match the excellent Store Set. The Insets were good and the use of a higher acting area at the back really helped to give depth and interest to the acting area - especially in the Harmonia Garden scene. The Sets were well painted and generally secure.

STAGE MANAGEMENT

Set changing was a bit sloppy at times with the Blacks not being securely drawn together and the gap showed the Set being changed. The stage hands did make a fuss of the Store Desk being set - piece setting should be precise and swift. There was a lot of noise coming from backstage during Court scene (and I was sat at the back of the hall). I realise that there cannot be much room backstage and that the team must have been well organised to achieve all the successful set changing that they effected. The stage management ensured that all lighting cues were well timed.

The Trowbridge Amateur Operatic Company achieved highly with a colourful and well balanced production of ‘Hello Dolly’ and are to be congratulated on giving such delight to the audience.