Put On Your Sunday Clothes and See Hello, Dolly! At The Player’s Club of Swarthmore

by Meg Bryan

While many of us theater people love shows from all time periods, I find that there’s something about those “golden age” shows that feels a little extra magical. Maybe it’s the stories that feel fantastical while still being realistic enough, maybe it’s the music with that full orchestral sound, or maybe it’s something else entirely. Whatever it may be, PCS Theater’s production of Hello, Dolly! has captured that whimsical energy in every aspect with no stone left unturned. From the beautifully crafted set and costumes to the live pit orchestra (always a plus in my book) to the incredible performances from everyone onstage, this show sparkled in all the right ways and filled the audience with pure joy at every turn.

Upon arriving at the theater through the menacing winter weather, I was immediately taken by the gorgeous set designed by Patrick Murray and George Mulford and crafted by Phil Vecchioli (Master Carpenter). There were two large staircases flanking either side of a tall platform all the way at the back of the stage, and the front of said platform was decorated by wallpaper and many different sized empty golden picture frames. There was a sizable gap between the main stage area and a catwalk area at the very front, and the pit orchestra led by Conductor Barbara Newberry lived in that open area. There were also a couple platforms that moved around the stage throughout the show, decorated elaborately by Denise Kolodziej, Jaime Taylor, and Ray Crozier (Props Design). Stage Managers Danielle LaChall and Anne Marie Scalies and their team (Ann Bacharach, Liz Bradley, Nathalie Dalziel, Randy Escoto, Amy Goldman, Cyrus Knower, Jimmy Psitos, and Theodora K. Psitos) maneuvered from scene to scene effortlessly, ensuring no awkward lengths of time between scene changes. Marching band music and ragtime style piano played in the house before the show to set the ambience, and in my opinion, this was the perfect choice for a pre-show playlist.

As the cast took the stage for the opening number, I was stunned by the elaborate costumes put together by Betsy Berwick, Dot Kowal, Reba Ferdman, and Claire Ennis. Each person was styled in a uniquely colorful outfit, and the looks themselves blended together beautifully. In addition, wig design was masterfully done by Randino and Rachel Olson to the point that I was unable to discern who was wearing a wig and who wasn’t. The lighting, designed by Jack Janovsky (assisted by Master Electrician Alan Stamford), was subtle in the perfect way, and I was impressed by the ability to have every face lit even in moments where the entire company was spread out all across the stage. Lee Longenberger did wonderful work with sound design, but there were a couple moments that I struggled to hear a few lines of dialogue when there was music underscoring a scene.

Patrick Murray’s work both directorially and choreographically was overall visually stunning from the dance steps themselves to the formations that were created throughout the performance. Each dance number was visually exciting and beautifully executed by the cast, although I do wish we were able to hear the tap moments a bit clearer. Along with the support of Assistant Director Ray Crozier, Murray’s blocking felt intentional with no movements made without a purpose behind them. I especially adored the addition of a trap door at the center of the front catwalk where we would see Cornelius and Barnaby appear from and disappear into at multiple moments. The vocals, however, were the major standout for me. Music Director Katie Vannewkirk with assistance from Todd Hartsock did phenomenal work when teaching and balancing harmonies, ensuring that every note in each dense chord could be heard perfectly with no one part overtaking another. In addition to the vocals of the cast, the orchestra accompanying their voices played through the score masterfully and with ease. The pit was comprised of a lovely balance of instruments including reeds (Scott Poreca, Tom Trinter, Riley Parker, Laura Reimer, and Donna Higgins), trumpets (Jeff Pelesh, Charlie Wolfe, and Steve Glanzmann), trombones (Aaron Gold, Tom Steele, and Steve Smith), percussion (Lisa Gilmer and Steve Pappaterra), piano (Cheryl Platco), viola (Christa Levko and Tyler Meil), violin (Aili Lazaar and Dennis Hancock), cello (Jane Roberts), and bass (Rich Conn and George Livanos).

An obvious performer standout was Donna Dougherty in the title role of Dolly Gallagher Levi. Dougherty’s presence onstage was that of a queen: a perfect balance of elegance and confidence. In addition to that, her comedic prowess was evident from the beginning. She brought just the right kind of energetic glow to Dolly that is needed for an audience to love that character as much as we did. Tom Covello’s portrayal of the grouchy and buttoned-up Horace Vandergelder was a lovely contrast to Dougherty’s optimistic nature. Covello achieved Vandergelder’s character arc beautifully, showcasing his emotional growth as the story moved along. Cornelius Hackl and Barnaby Tucker, played by Robert Correas-Rivera and Jack McDonnell respectively, were massive standouts with their engaging banter throughout the show, both with each other and with additional characters. I was especially taken by Correas-Rivera’s vocal ability in “Put On Your Sunday Clothes” and McDonnell’s expressiveness, both in his face and his movements. Sammi Kuhl brought a coolness to hat shop owner Irene Malloy that I had never seen in that character before, and it made her all the more admirable, especially when paired with Jane Haracz as the lovingly obnoxious Minnie Faye. Speaking of hats, a huge shoutout to Millinery Designer Renée Perri for the gorgeous pieces both as props in Mrs. Malloy’s shop and as costume pieces for the cast. This group of characters were electric to watch, both on their own and all together as a quartet in “Elegance” at the start of Act Two. The pairing of Geoffrey Pizzuto as struggling artist Ambrose Kemper and Madeline Merinuk as the tantrum- having Ermengarde was another fun one to watch together, especially when they danced together in the polka competition. Pizzuto brought calm to Merinuk’s emotional outbursts that just solidified how lovely these characters worked together as a couple.

Casey Lynch was a stunningly flamboyant Rudolph Reisenweber, taking command of his staff during “The Waiters’ Gallop” which was a jaw-dropping feat of complex choreography. Julie Zaffarano as Mrs. Rose was sweet as can be, bringing that nostalgic feeling to the audience of reunion with a dear friend. However, I would be remiss to ignore the hilarious Catherine Callahan as Ernestina Money. Every line of dialogue she delivered, no matter how small, had the audience cracking up laughing. She was the perfect amount of ridiculous, committing to the comedy with ease. The remaining ensemble comprised of J. Tyler Atkinson, Karla Bradley Manhard (Dance Captain), Michael Bly, McKenzie Burgos, Will Bryan, Felicia Capece, Marissa Capuano, Tess Coary, Lauren Cusick, Vivienne Escoto, Kira Fecondo, Avery Forst, Sarah Gorman, Claire Gower, Allie Kotch, Isaac McHugh, Maeve Moran, Caitlin Naylor, Rachel Olson, Marissa Ritter, Gloria Rose, and Harrison Simon moved impressively as a unit, staying engaged even in moments where they were not the primary focus of the scene. I love to take moments to peek at the ensemble and see the small acting choices they create during the show, and I was never disappointed by what I saw from them as a whole.

At its core, Hello, Dolly! is a heartwarming show, and it is my belief that we can never have enough of this kind of feel-good art in our lives. It was lovely to be able to come in and be transported to another world for a few hours. PCS Theater’s production in particular is not one to miss if you’re in need of a smile this winter! Hello Dolly! runs now through January 4, you can purchase tickets here: https://ci.ovationtix.com/117/production/1238809