Musical Theatre West Welcomes Back HELLO, DOLLY!

During the recent opening night performance of Musical Theatre West’s vibrant new production of the 10-time Tony Award-winning 1964 musical HELLO, DOLLY!, the enthusiastically appreciative audience might as well have chanted “Hello, Tami!” judging from the reactions during the show’s finalé bows.

Making her long-awaited return to a Southern California Musical Theatre stage production after quite a long absence, local favorite Tami Tappan Damiano—whose past MTW credits include SPAMALOT and THE FULL MONTY—is nothing short of brilliant taking on the title role in a gorgeous, earnestly joy-filled new local revival of the classic musical, which continues performances at the Carpenter Performing Arts Center in Long Beach, CA through November 2.

Happily beaming like a star making a triumphant return, Damiano—who is clearly having a great time—takes on the iconic feathers and bows of Dolly Gallagher Levi, New York’s most infamous multi-hyphenate matchmaker and the central figure of the show. Seeing her in the role instantly feels like a perfect fit for a stage actress of her wit, talent, comic timing, and, of course, powerful vocal chops. From her first “surprise” entrance on a cable car to her final descent down the Harmonia Gardens staircase, Damiano’s Dolly is quite a notable, memorable one that can proudly stand alongside the many iconic names that have also taken on the corseted mantle in past Broadway and touring productions. 

Of course, it helps that the production itself—directed with a palpable reverence to Gower Champion‘s original classic staging by Cynthia Ferrer—is a dynamic, entertaining one, filled with colorful visuals via Bruce Brockman’s sets and Dixon Reynolds’ costume designs, lush classic sounds from the show’s orchestra under the baton of musical director Dennis Castellano, dazzling dance numbers choreographed by Cheryl Baxter, its imbedded endearing nostalgia, and an ensemble of actors channeling Broadway-caliber theatrics. MTW consistently puts on impressive productions, and this HELLO, DOLLY! is certainly no exception.

What it lacks in modernity, it more than makes up for it in its admirable adherence to period authenticity—from its generous use of old-fashioned mannerisms of a bygone era to the classic humor dispensed in a cadence you won’t hear today. Even if, once in a while, you can hear some pop-tinged vocal riffs in song delivery (I appreciate it, but maybe not here, dear), HELLO, DOLLY! truly leans in on its nostalgic, old-world machinations. I gotta say… seeing the show’s makeshift train car come in from the wings made me smile.

Featuring memorable music and lyrics by Jerry Herman and a book by Michael Stewart (adapted from Thornton Wilder‘s play The Matchmaker), this old-fashioned though still tried-and-true musical is set in 1890s New York City where we meet the adorably industrious Dolly Levi, a bold and quick-witted matchmaker (and, in a running gag, a gazillion other side gigs) who takes it upon herself to arrange not only the romantic lives of others but also her own. After some time has passed since the, um, passing of her husband, Dolly finally declares that she, too, wants to find a love of her own… a new beau to marry. 

To that end, Dolly sets her sights on bagging the wealthy but curmudgeonly “half-a-millionaire” Horace Vandergelder (a playful David Engel), a well-known shop owner in Yonkers, who, amusingly, originally hired her to find him a wife—mostly to keep his life tidy. She’s got her work cut out for her, though, because Horace has decided to propose to Irene Molloy (the superb Anna Mintzer), a widowed hat shop owner in NYC. Fearing that her own chances with Horace are slipping away, Dolly fibs and tells him that a local heiress, Ernestina Money (Jane Papageorge) might be a better match for him (spoiler: she’s definitely not).

As additional insurance, Dolly volunteers her services to Horace’s aspirational clerks Cornelius Hackl (Robert Pieranunzi) and young Barnaby Tucker (Ben Raanan) to find their own respective romances. And with their boss absent from the store to get betrothed, Cornelius and Barnaby decide to play hooky from their jobs and go off on their own adventure in the bustling city. 

Dolly seizes on the opportunity and mentions to the pair that they should look up and visit a pair of ladies they might develop an interest in: Irene Molloy—yes, Horace’s original match!—and her young assistant Minnie Fay (Natalie Holt MacDonald). 

Oooh, she’s good!

To Ms. Levi’s credit, it helps that Ms. Molloy herself isn’t romantically interested in Horace at all, but does want to find a husband.

Adding even more shenanigans to all the chaos is an awkward NYC artist named Ambrose Kemper (Landen Starkman) who has asked Dolly for assistance in convincing Horace to change his mind about allowing the coupling of him and Horace’s dramatic niece Ermengarde (Domonique Paton). Horace is against the relationship mostly due to Ambrose’s unstable finances, so Dolly must now scheme a way for Ambrose to look like he has some kind of brighter future.

As one might expect, such criss-crossing high-jinks of subterfuge, miscommunication, and misdirection have complicated albeit hilarious results—causing much stress for our characters, sure, but certainly plenty of cheery enjoyment for us as an audience. 

Overflowing with broad, approachable humor, unmistakable charm, and a songbook of classic, memorable showtunes like “Put On Your Sunday Clothes,” “Before the Parade Passes By,” and, of course, the iconic title number, HELLO, DOLLY! is an infectiously joyful celebration of love, life, and second chances. 

The musical’s familiar, comforting structure reflects the traditional mid-century Broadway formula: blending comedy, romance, and big ensemble dance numbers—which this production valiantly recreates to rousing, entertaining triumph.

Hearing Herman’s buoyant score blasting from a full, 15-piece orchestra is also such a warm, comforting throwback, which still embodies a kind of unapologetic theatricality that boasts showmanship and joy. 

But beneath its spectacle, however, lies the show’s subtle and surprisingly poignant exploration of loneliness, aging, and the human desire for connection. Dolly’s journey—from a widowed busybody to a woman ready to “rejoin the human race”—offers emotional depth that elevates the musical beyond mere farce. Watching Dolly look up to the heavens, asking her dead husband for a sign that she can move on affected me more this time around… perhaps because now I’m a person of a certain age, I guess, which, frankly caught me off guard. It’s a beautiful, emotional pause in a show whose main aim seems to be to keep us laughing.

Even in 2025, HELLO, DOLLY! holds up as one of the genre’s quintessential Golden Age musicals—lavish, low-stakes, optimistic, and anchored by a larger-than-life leading lady that commands attention. More than anything, the show’s enduring appeal lies in the magnetic title character of Dolly Levi, a role that has been famously portrayed by the likes of stage titans Carol Channing, Barbra Streisand, Betty Buckley, and Bette Midler. MTW has certainly found a worthy, short-term Dolly in Damiano, who meets the iconic character’s demands both emotionally, spiritually, and, yes, vocally. My sole complaint about the production: I wish Dolly’s over-eating scene was lengthened even more, just for the sole purpose of seeing Damiano mine the comedic possibilities promised by her fun take on Ms. Levi. If she’s going to be let loose to be silly, let her be silly AF to the point of being the modern-leaning equivalent of a meme going viral.

Damiano really excels at straddling both confidence and vulnerability as the meddlesome but also love-seeking Dolly. It’s so much fun to watch her, particularly when she gets into her fast-talking mode that often renders respondents speechless or hilariously finding themselves surrendering to her tenacity. 

Thankfully, her co-stars are equally worthy of praise as well, particularly Engel, whose portrait of Horace is believably (and amusingly) cantankerous, and Mintzer, whose singing voice had me swooning. The entire ensemble—especially during the big musical dance numbers—make this show worth experiencing multiple times. The Harmonia Gardens wait staff deserves a raise!

Tami Tappan Damiano (center) and the Company of HELLO, DOLLY!

While, true, some more modern-inclined audiences might view some of HELLO, DOLLY!’s gender and social conventions as incredibly dated and even slightly problematic, the show, overall, still remains a masterclass in musical theater craftsmanship—demonstrating the timeless appeal of a well-crafted, beautifully-staged book musical, timeless visuals, and the transformative power of a strong central lead performance.

Luckily for us here in So. Cal., there’s a new revival of the musical in Long Beach that checks off all those boxes.

Follow this reviewer on Bluesky / Twitter-X / Threads / Instagram: @cre8iveMLQ.

Photos by  © TAKE Creative, courtesy of Musical Theatre West.

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Performances of Musical Theatre West’s production of HELLO, DOLLY! continue through Sunday, November 2, 2025. The Carpenter Performing Arts Center is located at 6200 E. Atherton Street in Long Beach, CA. For tickets or for more information, please call 562-856-1999 x4 or visit online at www.musical.org.

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