Loretta Ables Sayre has altered the Dolly Gallagher Levi playbook to suit her lower vocal register and plus-size profile, enabling her to put a personal spin on the titular figure of “Hello, Dolly!”
The Broadway evergreen, which premiered Friday night as Diamond Head Theatre’s 2018-19 season’s opener, remains a comedic and convincing portrait of a meddlesome Jewish matchmaker, except that Ables Sayre is Filipino with impeccable theatrical smarts; she’s equal parts singer, comedian and actor (and toss in Tony nominee, for “South Pacific” on Broadway a decade ago) and she challenges herself to reinvent the beloved stage character to suit her persona.
Her “Dolly” is luminous and lovely, principled and persuasive. And clad in Dolly’s signature bright fire-engine-red gown, with feather plumes abloom on her head, she is totally a pleasure to absorb.
Having just seen Bette Midler — perhaps Hawaii’s brassiest and brightest of all Broadway belles — last month in New York, when she closed “Dolly” so it can begin a national tour, I can honestly proclaim Ables Sayre’s creation is every bit as grand and sparkling, loaded with inventions. There’s a tad of tita-ness in Dolly’s turkey-chomping scene.
“HELLO, DOLLY!”
>> Where: Diamond Head Theatre
>> When: 7:30 p.m. Thursdays-Saturdays and 4 p.m. Sundays, through Oct. 14; also, 3 p.m. Sept. 29, Oct. 6 and 13
>> Tickets: $15-$35, at 733-0274 or diamondheadtheatre.com
Ables Sayre is wistful and reflective on the touching “Before the Parade Passes By,” the Jerry Herman ballad that brings down the Act I curtain. The overall score is rich but understated, and a true Broadway classic. By the time the galloping waiters anticipate Dolly’s arrival at the Harmonia Gardens in Act II, her descent down 15 stairs in an iconic moment of pure jubilation, a confirmation of the considerable skills she delivers.
The show boasts a trio of diverse love elements, the first with the widowed Dolly, seeking approval from her unseen late husband Ephraim, who tries to corral the grumpy but decent Horace Vandergelder (Joe Martuyak), the Yonkers feed and hay merchant, into holy matrimony.
The book by Michael Stewart is based on Thornton Wilder’s endearing play, “The Matchmaker,” perhaps worthy of a revival, too.
The second love element involves Cornelius Hackl (Kevin Pease), the adorable store clerk, attracted to Irene Molloy (Lea Woods Almanza), a young milliner-widow also open to a suitor. Barnaby Tucker (Chev-Vaughn Linn) and Minnie Fay (Stacey Pulmano) comprise the final romantic cycle as charming store clerks cooing and wooing each other.
There’s not a bad voice in the ranks; the over-the-top work of the enthusiastic dancing and singing ensembles is enchanting.
Veteran director-choreographer John Rampage has energized this inspired outing to mark the 50th anniversary since DHT did its first “Dolly” in 1968.
Karen G. Wolfe again has concocted a vibrant array of costumes, exemplified in that lavish “Put on Your Sunday Clothes” number, which simply glisten in Dawn Oshima’s lights. Maestro Phil Hidalgo enables his seven musicians to sound like an orchestra triple its size.
While Willie Sabel’s sets are cleverly spartan and functional, patterned after the Broadway model, why are the shelves of Vandergelder’s hay and feed store totally bare and barren?
Wayne Harada is a veteran Show Biz columnist and entertainment reporter-reviewer.
