A Spirited and Spectacular “Hello, Dolly!”

The Roberts Theater was abuzz with anticipation on Friday afternoon as KO’s production of Hello, Dolly!, directed by Kyle Reynolds, chair of the performing arts department, took the stage. From the moment the overture began, it was clear that this was a show with a difference. Unlike in past years, when the band played behind the actors, Musical Director Steve Mitchell placed the orchestra in the pit before the stage. The result was a heightened sense of energy and an immersive aural experience, particularly during the show-stopping number, When the Parade Passes By. 

As the curtain rose, the audience was transported to 1890s 14th Street in Manhattan, a striking tableau of denizens posed like mannequins, reading newspapers against a backdrop of fire escapes and billboards. The set design was evocative, immediately 

drawing viewers into the world of the play.

Molly Palmer’s commanding portrayal of Dolly Levi was at the heart of the production. She owned the stage, a no-small feat for a fledgling actress. Dolly makes a living through what she calls “arranging things” – matchmaking and numerous sidelines, including dance instruction, mandolin lessons, or whatever the person she speaks to needs. With a perfect balance of charm, wit, and cunning, she ensured the success of her character’s scheme to marry the self-described “rich, friendless, and mean” half-a-millionaire Horace Vandergelder played by Braden Bak, with delightful precision. Her performance was both compelling, triumphant, and joyous, making Dolly’s journey all the more engaging.

KO’s student performers demonstrated impeccable comedic timing, rivaling professional improv troupes like The Groundlings or the Upright Citizens Brigade. From Juliana Chipelo’s (Ermengarde) exaggerated crying to Lily Temkin’s (Minny) distinctive, jackhammer-like laugh, the show was packed with moments of physical comedy and slapstick brilliance. The duo of Riley Mapp (Barnaby) and Leo Kollen (Cornelius) stood out with their expressive faces and expertly timed hijinks, whether hiding in closets or ducking under tables. Teague Shamleffer, the maitre d’ of the Harmonia Gardens restaurant, manically blew a whistle like a drill sergeant to conduct his frantic wait staff and bark orders in an exaggerated German accent.  Bak, as Horace, the cantankerous target of Dolly’s machinations, played the role with great likeability. With his believably stooped gait, one wondered if Bak was affected by early-onset arthritis. Betsy Slifka as Ernestina Money was particularly brash as Ernestina Money. Contrasting all the farce was the role of milliner owner Irene, played by Danica Arwen De Dios, who sang a tender “Ribbons Down My Back” and found love unexpectedly with Cornelius.

Visually, the production was a feast for the eyes. The painterly backdrops, stunning curtain work, and vibrant Belle Epoque period gowns—from bright pinks and yellows to parasol-adorned ensembles—brought a sense of exuberance to the stage. The audience audibly gasped when a near-life-size train, complete with steam piping from its engine, rolled onto the stage—a dazzling effect that underscored the production’s attention to detail.

One of the show’s most memorable moments came during “When the Parade Passes By,” as red, white, and blue confetti unexpectedly cascaded from the ceiling. The effect was met with delight, and after the show, students excitedly discussed the secret behind the spectacle: members of the stage crew positioned in the catwalks had manually released the confetti, adding a touch of behind-the-scenes magic to an already unforgettable performance.

Another brilliant number from the show was the Gallop of the Waiters, who, dancing with chaotic precision, carried silver trays and wine bottles at the Harmonia. Matthew Habbeb’s dizzying turns were literally head-spinning. As the wait staff settled down, they were roused again with the news that Dolly had returned to dine at the restaurant. Dolly descended the staircase while singing the ‘big’ number, “Hello Dolly.” in a spectacular red dress, waving and greeting the adoring waiters who joined her in the song.

Through the comedy, a purposeful message underscores the play. Director Kyle Reynolds wrote in the Playbill, “Hello, Dolly! is a story about resilience, hope, and the courage to embrace life’s second chances. Dolly reminds us that, no matter how uncertain the world may feel, we must keep moving forward—opening new doors, building connections, and finding joy wherever we can.”

KO’s Hello, Dolly! was a triumph—a masterful blend of comedy, music, and spectacle that left the audience thoroughly entertained. With its clever direction, talented cast, and stunning visual effects, this production was a true celebration of musical theater at its finest.