12
NEDKESDIIY
KOVEMBER1,2017
LIFESlYlf
Performers
connect
their lives
to their
characters ■
When: Nov. 2-4 |
7:30 p.m.
Where: McCrary
Theatre
Cost: $13 orElonID
Deirdre Kronschnabel I Elon News Network [ @kronschd
H i
' ELLO, DOLLY!” TELLS THE adventures of mischievous
meddler Dolly Levi as she travels to Yonkers, New York, for
the matchmaking scheme of a lifetime. The department of
performing arts presents this turn of the century pick-me-up
performance in a celebration of life’s every moment.
Elon LFniversity brings the musical to the McCrary Theatre
stage this year — the year it returns to Broadway — in a larger-than-life show em
phasized by outbursts of mad giggles, blundering gentlemen and grandiose ver
bosity. The show’s stars are portrayed by musical theater students who use their
own experiences and strengths to give “Hello, Dolly!” its timeless, giddy essence.
Dolfy
Levi
££ Wacky, smart and
manipulative
ipuiative
hmaker!
mate
Chloe Robins
^‘Dolly”
^a
T here’s a moment where Chloe
Robins stops singing on stage. She’s
directed to move forward, but she
can’t simply walk. She’s a meddling, middle-
aged matchmaker who constantly reflects on
memories of her late husband. She’s been told
by her choreographer to envision herself on
her wedding day, to see herself gliding down
the aisle, then the first dance. The happiest
moments of her life were when her husband
was living by her side.
Robins has never been married. Still, she
has to find some way to connect to Dolly Levi,
the leading lady of the show. In these minutes
between the opening of the curtains and her
run-through backstage, she takes the inten
tions of the staging and finds a connection
in her own personal emotion. She’s trans
formed.
The transformation isn’t in the ruffles
and ribbons. Robins’ relationship with Dol
ly began weeks before opening night. On
script, they didn’t have much in common.
T would steer away from someone
with that big of a personality,” Robin said.
“Dolly is very confident, outspoken and
can manipulate people into giving her
what she wants. I m definitely introvert
ed — and not so manipulative.”
As an actress, it’s Robins’ job to chan
nel as much of herself into Dolly while
onstage, despite how they would con
nect in real life.
“Every day she became more the character,”
said Michael Jablonski, “Hello, Doily!” choreog
rapher. “She’s playing a role that’s 40 years too
old for her. One of the first days of rehearsals,
she came up to me and asked how old she should
play the role. And I said, ‘You should play it as
yourself! And she’s doing wonderfully at it.”
Jablonski choreographed each character pur
posefully to marry the personality of the role
with the strengths of its actor. The choreogra
phy, as well as the music, artfully intertwine the
two to tell a complete character story.
“We can make informed acting choices based
on the clues given in the music and the intention
set with the choreography,” Robins said.
Her character choices succeed in creating the
dynamic Dolly as a result of hard work and con
tinual experimentation.
“She’s such a strong actor and has a great
presence on stage,” Jablonski said. “Chloe works
really hard every time, and she never says, ‘I
can’t do that.’ She says, ‘Alright, let me work on
it.’”
Audiences will watch Dolly waltz, kick and
turn through flared skirts and under heavy hat
plumage. It’s dear that the woman on stage is
no introvert — and has a scheme up her sleeve.
Here under the spotlight, they belong together
as one, no matter their differences.
It’s fun to play someone completely oppo
site from myself,’ Robins said.
I don t think someone just turns the ignition c
all of a sudden, they’re that character. It’s like
when you see someone growing up. Yoii don’i
notice when you’re with them every day but
after a time apart —from the first rehearsal t
the last - It’s like, ‘You’re so d^erent.’ "
Michael Jablonski
“Hello, Dolly!" choreographer