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    ‘Hello, Dolly!’ Review: Imelda Staunton Has the Wow, Wow, Wow Factor

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    The veteran British actress shines in a new revival that is the musical theater highlight of the West End summer.Love affairs in the theater take different forms — between characters onstage, of course, but also between a performer and the public.In a new London revival of “Hello, Dolly!,” the leading lady, Imelda Staunton, grips the audience from the beginning and holds them in a shared embrace throughout. Ths show is the musical theater event of the West End summer, running at the London Palladium, through Sept. 14.“Hello, Dolly!” has always been a star vehicle. Carol Channing first played the matchmaking Dolly Gallagher Levi on Broadway in 1964 and made it her signature part, returning to the role of the deliciously meddlesome widow throughout her storied career. The others to take it on have included Pearl Bailey, Ethel Merman, Bette Midler and, on film, Barbra Streisand. This production, indeed, owes quite a bit to the 1969 movie, the choice of opening song (“Just Leave Everything to Me”) included.But Staunton — who on Wednesday received an Emmy nomination for her performance as Queen Elizabeth II in “The Crown” — is probably the only English performer who can command as much respect in the role as those American ladies. She occupies a special place in British playgoers’ hearts, which this production, directed by Dominic Cooke’, taps into directly. Her acquaintance with the classics — Albee, Chekhov, Sondheim — lends a gravity to the performance, so that we understand Dolly as a fully realized person, pain and all, and not just a figure of fun.Staunton plays Dolly Gallagher Levi, a widow who has taken on the role of matchmaker in her community.Manuel HarlanWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      What to See on London Stages This Summer

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      British theater recommendations for visitors and residents of all ages — and inclinations.London’s theaters offer something for everyone. Whether in big West End venues or on stages tucked away above a pub, the city’s shows include the classics, new plays and some productions that defy classification. Open air playhouses attract audiences willing to brave the unpredictable summer weather, and venues spread throughout the city make for an accessible theater landscape that extends far beyond the heavily trafficked tourist hot spots.Whether you’re looking for frothy musicals or fiercely charged political writing, chances are your wishes can be answered somewhere around town. Below, in seven categories, are some of the shows vying for the attention of visitors and residents seeking out London theater this summer.Give Me Serious DramaDenise Gough as Emma and Malachi Kirby as Mark in “People, Places & Things.”Marc BrennerAlma MaterFew London playhouses generate as much buzz as the Almeida, and expectations are high for its run of this new play from the Australian playwright Kendall Feaver, whose theatrical debut, “The Almighty Sometimes,” impressed British critics when it played in Manchester, England, in 2018. Feaver’s latest is set on a university campus rocked by sexual assault allegations, and Polly Findlay directs a cast led by Phoebe Campbell and Justine Mitchell. Through July 20 at the Almeida Theater.The Boys from the BlackstuffThe regional accents may prove a challenge — especially if English isn’t your first language — but there’s no denying the passion and power that course through James Graham’s stage adaptation of this era-defining 1982 British TV show. Through a community of Liverpool road builders’ struggles, Kate Wasserberg’s empathic production reminds us that employment is crucial to self-esteem. Through Aug. 3 at the Garrick Theater. More

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      Days After Reopening, London Theaters Must Shut

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      #masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesThe Latest Vaccine InformationU.S. Deaths Surpass 300,000F.A.Q.AdvertisementContinue reading the main storySupported byContinue reading the main storyDays After Reopening, London Theaters Must ShutThe musical “Six” and a concert version of “Les Miserables” are among the shows that will close because of rising coronavirus cases in the city.Pedestrians walk past the Lyric Theatre before the performance of the musical “Six” in London on Dec. 5.Credit…Suzanne Plunkett for The New York TimesDec. 14, 2020LONDON — On Dec. 5, “Six” — the hit show about the wives of Henry VIII — staged a triumphant comeback when it became the first musical to be staged in London’s West End since the coronavirus pandemic began in March.Now, just nine days later, that comeback has been brought to a sharp halt.Matt Hancock, Britain’s health secretary, announced on Monday that the government was tightening restrictions in London, as well as other parts of southern England, because of a “very sharp, exponential rise” in coronavirus cases. The new restrictions, which include a ban on theatrical performances and the closure of other indoor cultural institutions, like museums, would take effect Wednesday, he added. Pubs and restaurants would also close, though they could still offer takeout.“For businesses affected, it will be a significant blow, but this action is absolutely essential,” Hancock said, addressing Britain’s Parliament.Many theaters in London have been closed since the beginning of the pandemic, in March, though some smaller shows returned in the summer, with reduced audiences and socially distanced performers.In November, some major productions, including “Six,” were slated to return, but the British government announced a national lockdown that scrapped their plans.That lockdown lifted on Dec. 2 and England moved to a tiered system of restrictions, with differing rules around the country, including for cultural events.The Coronavirus Outbreak More

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      The Reggies 2019: Deluxe Edition – Part Two

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      The tribute act was once looked upon with disdain: it was quietly restricted to holiday camps and cruise ships. Nowadays it has turned into an industry, with quality acts playing major theatre venues. This is a very different beast from the jukebox musical, which has a narrative built around the songs of a particular artist: it is a genuine impersonation featuring their greatest hits. I’ve seen half a dozen play this year, so it seems only right to introduce a new category of Best Tribute Act. In third place we have The Greatest Love of All; a Tribute to Whitney Houston at the London Palladium. Belinda Davids turned in a slick tuneful performance as one of the greatest divas in pop history. In the runner-up spot is The Bowie Experience: The Golden Years Tour at the Hackney Empire. Lawrence Knight on occasion looked and sounded spookily like David Bowie. But the winner by a country mile is George at the Eventim Apollo. Backed by members of his original band, Rob Lamberti pulls off a brilliant impersonation of George Michael.
      So ever onward to the works of William Shakespeare, a category we have dubbed Dear Old Will. No theatre reviewer can get through the year without the bard featuring at some point. In third place is Macbeth: The Musical at the White Bear Theatre, a refreshingly new approach to the story featuring Avenue Q style puppets. Second spot goes to Twelfth Night at the Rose Playhouse; an ultra-smart musical version set on a cruise liner in the 1920s. Great fun if you can stop shivering for long enough. This year, though, the fat cigar goes to the Iris Theatre for their brilliant production of Hamlet at St Paul’s Church. The masters of open air theatre just seem to get better and better.
      And now the fluffy, feel-good world of Best Musical. You know the type of show: switch your brain into neutral and have a good old sing song. In third place, winning its second nomination, is Ragtime at the Bridewell Theatre. Nothing more could be asked of cast and crew in this recreation of a Broadway classic. In second place is The Pirates of Penzance at Wilton’s Music Hall. Gilbert and Sullivan have always had a touch of Marmite about them, but there was no doubting the quality of this production. An all-male cast (some clad in basques!) were note perfect throughout. And the proud winner of this hotly competed category is Ain’t Misbehavin’ at the Southwark Playhouse. The Fats Waller musical has never sounded better than in this confident production featuring an excellent cast.
      I’ve saved the blue ribbon event for last. The award for Best Play is the most difficult category to cast with the volume, depth and quality of production in London theatre. My top three constantly changed even as I drafted. Finally I settled my troubled mind: in third place, The House of Yes at the Hope Theatre; a marvellously inventive play with strong characters and a tight script. In second place, Jesus Hopped The ‘A’ Train at the Young Vic; a great title, great script with cool acting in the coolest of venues. So why on earth didn’t it win? Death of a Salesman rose like a giant casting a shadow over everything in its wake. The play is a classic of 20th century theatre, but like so much of Arthur Miller’s work is still considered a writer’s play. Critics will love it but it will often garner a mixed reaction from the public. It may be long but in the hands of a great cast it becomes a moving, almost electric portrayal of life in all its pain and glory.
      I expect 2020 to be another outstanding year in the theatre.  We seem comfortable to continually raise the bar, and expect even greater things from our actors and creatives, but somehow you just know it’s going to get better. See you the other side of Brexmas! More