By Jack Fry.
Last week I was lucky enough to attend DULOG’s superb musical theatre production of the Gilded Age musical, ‘Hello Dolly!’. When I asked the producers why they had opted for ‘Hello Dolly!’, they explained that DULOG favoured the musicals of this period in order to appeal to the older, more genteel theatre-going population of Durham. While one may think this could make for a stale rehashing of familiar and old-fashioned productions, the producers outlined their desire to modernise some of its more dated aspects.
The story follows a matchmaker, Dolly, a character most famously embodied by Barbara Streisand in the 1969 film version, as she tries to divert and win the affections of half-millionaire, Horace Vandergelder. She is a woman of all trades, including but not limited to: varicose vein healing, dance teaching, ear piercing but most importantly to the narrative arc, matchmaking. As she proclaims shortly after the curtain is raised, “I meddle” and boy is she good at it! Through smart direction and choreography Dolly orchestrates the stage, sending the chorus one way and the other, making clear to us from the outset who is in control. A larger than life character; she is vivacious, charming, impertinent and independent. Florence Lunnon inhabits her role with confidence as her voice soars between a low New York growl and a beautiful soprano. She also has a knack for physical comedy that repeatedly fills the Gala Theatre with audible laughter.
A standout number, ‘It Takes a Woman’, is initially sung by the character, Horace Vandergelder; the lyrics demonstrate some of the sexist ideals of the time that may have made the audience cringe and that those involved sought to refresh. However, when the song is reprised by Dolly it becomes an empowering ballad of agency. For me, the show seemed a smart commentary on gender roles. The female characters are searching for fulfilling lives and financial independence; they use the constraints and expectations of a patriarchal society and the naive men in their life to their advantage. This theme draws from an era that was pivotal in the development of the women’s movement. Suffrage began to gain momentum in the 1890s and women became more liberated; the Victorian invention of the bicycle, an unlikely ally, also gave women higher hemlines and a new found independence.
‘Put On Your Sunday Clothes’ was also a noteworthy number, anchored by the riotous comedic duo of Samuel Kingsley Jones and Stephen McLoughin as Cornelius Hack and Barnaby Tucker. They were particularly engaging throughout – Kingsley Jones’ performance was impressive and his singing voice was a highlight. The song ascended to a pinnacle of the show when the whole company joined, singing in harmony as their technicolour parasols spun in steam train formation towards Manhattan.
This thoughtful choreography continued with a couple of dance interludes. The dancers appeared most notably as waiters at the Harmonia Gardens Restaurant; their high kicks recalled French cabaret dancers of the era and as their tailcoats spun behind them, their silver trays cast gleaming light across the auditorium.
I was especially impressed by the production value that benefited from a sizable budget, further adding to the polished nature of the musical. The various era appropriate costumes enhanced the visuals as well as the numerous candy striped, art nouveau sets that were presented to us; each one like a scene from a ‘New Yorker’ cover. The only aspect that gave away its student led operation was the youthfulness of the actors playing older characters.
Overall, considered and interesting directing choices by Alexandra Hart and Jennifer Lafferty made for a dynamic and accomplished production with old school charm and jovial melodies, truly a joy to watch. The experience as a whole altered my perception of student theatre – it’s no wonder DULOG has been a permanent fixture in Durham for the past 50 years!