Standout Performances Highlight Academy’s ‘Hello, Dolly!’

There’s a scene in “Hello, Dolly!,” the 1964 musical by Michael Stewart, in which the lead character, Dolly Gallagher Levi, in a moment alone with the audience, looks out and speaks to her late husband. She’s looking for a sign. She’s tired. She fears that the parade, the massive spectacle of life, is about to pass her by. It’s a moment from a character who’s been hustling for everything she has to show her heart. It’s a moment that, when it works, will draw any audience in. 

It’s one of many moments that draws the audience into the Academy of Performing Arts’ production of “Hello, Dolly!” 

The musical, which is directed by Sue Lindholm, is engrossing. From each energetic production number to the performances given by its actors, “Hello, Dolly!” is like finding your favorite movie on cable while channel surfing amid a spring rainstorm. You fall into the world and get swept up in the parade.

The story is a comedy of manners that features Dolly, played incomparably by Denise Page, doing her best to hustle within the world of early 20th century New York. She’s a self-styled meddler, handing out cards for matchmaking businesses, dance lessons, and anything else that can help her survive. She’s made her way to Yonkers to assist Horace Vandergelder, played by Ryan Van Buskirk, in getting a wife, even though it becomes abruptly clear that she intends to be the one he marries. 

Throughout the action we meet Horace’s niece Ermengarde, played by Emma Englsen, who is in love with and seeks to be married to Ambrose Kember, played by Bryant Marshall. In a simultaneous plot there is Horace’s shop clerk Cornelius Hackl, played by DJ Kosta, and his assistant Barnaby Tucker, played by Mickey Olson, who are on a quest for love and adventure and meet women’s hat shop owner Irene Milloy, played by Jennifer Almedia, and her assistant Minnie Fay, played by Julia Morgan. The entirety of the action, seamlessly orchestrated by Dolly, builds in a classic romantic comedy fashion that radiates joy and offers such emotional resonance as well.

Page is marvelous as Dolly. There’s a touch of Streisand throughout, from the energy, the mannerisms and the line readings, but there is something distinct within the performance as well. Her vocals are earnest, inviting, drawing a connection between scene partner, performer, and audience. She is asked to do much as Dolly, being someone who must manipulate and manufacture nearly every relationship in the plot, and she crafts and cultivates them with precision. Paige, who served as assistant director for the production, brings honesty to Dolly, even throughout the excessive lying. The performance needs to be seen.

Kosta as Cornelius is a standout as well. Cornelius, the beaten-down shop clerk of Horace’s store, drags Olson’s Barnaby into New York City from Yonkers to have the night of adventure. The duo was a driving comedic force for large parts of the story, from the physical work of hiding from Horace under tables and in closets to so many bits of mistaken situations constructed by the tight script. Kosta does all of that and is required to show a layer of emotional depth as the play proceeds. In many ways Cornelius needs to have the most growth within the story and Kosta understood the assignment and excelled. 

There were many other highlights among the performances. Engelsen’s petulant Ermengarde features the best scream. Van Buskirk’s Horace is the definition of a curmudgeon. Almeida and Morgan match the energy of Kosta and Olson step for step. Throughout each credited performance and within the ensemble, there is so much irreverence and hijinks and pitch-perfect timing and delivery that it’s hard not to marvel at everything. 

Something must be said about the technical aspects of the performance as well. While I’ve found myself to be a fan in the handful of performances I’ve seen at the Academy, “Hello, Dolly!” hit different. Musically, witnessing the performance really did feel like I was an extra in the 1969 film or the 1964 stage show, and Chris Morris, the music director, and Kosta, who served as the choreographer, are to be noted for that. Every number was kinetic, sincere and sounded gorgeous. When you factor in their contribution with the already excellent level of work the entire crew produces, “Hello, Dolly!” really is not a performance to miss.