Overview
Synopsis
Jerry Herman’s energetic Hello, Dolly! is a musical filled with charisma and with heart. Matchmaker Dolly Levi is a widow, a matchmaker, and also a professional meddler --but everything changes when she decides that the next match she needs to make is to find someone for herself. Set in New York City at the turn of the century, Hello Dolly! is boisterous and charming from start to finish. Hello, Dolly! features such memorable songs as “Before the Parade Passes By,” “It Only Takes a Moment,” “Put on Your Sunday Clothes,” and - of course - the title number, “Hello, Dolly!” Dolly herself is one of the strongest and richest starring roles for a woman ever written for the musical theatre, and famous Dolly Levis have included Carol Channing, Ethel Merman, Pearl Bailey, Mary Martin, Barbra Streisand, and most recently, Bette Midler and Bernadette Peters.
Show Information
Context
Hello, Dolly! is based on Thornton Wilder’s farce, The Merchant of Yonkers. The play premiered in 1938, and itself was based on an earlier English play, called A Day Well Spent, written by John Oxenford. Wilder later revised and retitled his play in 1955, calling it The Matchmaker. In doing so, he shifted the emphasis from the character of the merchant (Horace Vandergelder in the musical) to the role of Dolly Levi, the matchmaker.
When the musical opened on Broadway
to read the context for Hello, Dolly! and to unlock other amazing theatre resources!Plot
ACT ONE
At the turn of the 20th century, New York City is abuzz because brassy widow Dolly Gallagher Levi is in town (“Call on Dolly”). Dolly supports herself by “meddling” - providing matchmaking and other services such as dance instruction and mandolin lessons (“I Put My Hand In”). Currently, Dolly is on the lookout for a wife to match with grumpy Horace Vandergelder, a well-known half-a-millionaire. Despite her intentions to look, it becomes clear that Dolly would like to marry Horace
to read the plot for Hello, Dolly! and to unlock other amazing theatre resources!Characters
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Character Portrayals
See StageAgent members who have performed roles in Hello, Dolly!.
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Songs
Act One
- Prologue ("Hello, Dolly!") - Orchestra
- *Call On Dolly - Ensemble
- I Put My Hand In — Dolly
- *It Takes A Woman — Horace and the Men
- It Takes A Woman (Reprise) - Horace and Dolly
- World, Take Me Back - Dolly (This song was cut for the Broadway opening, but reinstated when Ethel Merman played Dolly. The song has since been removed from some revivals)
- *Put On Your Sunday Clothes — Cornelius, Barnaby, Dolly, Ambrose, Ermengarde, and Ensemble
- Ribbons Down My Back — Irene
- Ribbons Down My Back (Reprise) - Irene
- *Motherhood March — Dolly, Irene, Minnie, and Horace
- *Dancing — Dolly, Cornelius, Barnaby, Irene, Minnie, and Dancers
- Love, Look In My Window - Dolly (This song was cut for the Broadway opening, but reinstated when Ethel Merman played Dolly. The song has since been removed from some revivals)
- Before the Parade Passes By — Dolly, Horace, and the Company
- Finale Act I: Before The Parade Passes By - Dolly
Act Two
- Entr'acte - Orchestra
- Penny in My Pocket - Horace (Originally cut prior to Broadway opening, this song was re-added for the 2017 revival but currently not available in the licensed version of the show)
- *Elegance — Cornelius, Barnaby, Irene, Minnie
- *The Waiters' Gallop — Rudolph and the Waiters
- *Hello, Dolly! — Dolly, Rudolph, Waiters, Cooks
- Hello, Dolly! (Reprise) - Male Chorus
- *The Waiters' Gallop (Reprise) - Rudolph and Waiters
- The Polka Contest — Orchestra, *Ensemble (Replaced with “Come and Be My Butterfly” for the Broadway run)
- It Only Takes a Moment — Cornelius
- It Only Takes a Moment (Part II) - Cornelius, Irene, and Chorus
- So Long, Dearie — Dolly
- *Finale Act II: Hello, Dolly! / Dancing / It Only Takes A Moment / Put On Your Sunday Clothes / Hello, Dolly! — The Company
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Key Terms
An 11 o’clock number is a show-stopping song that appears late in a musical, usually near the climax. It is often performed by the lead character and delivers a surge of emotional or dramatic power. The number reenergizes the audience and sets up the finale.
An adaptation is a reworking of a story from one medium or cultural context into another, such as turning a novel into a play or updating a classic play’s setting. Adaptations often reinterpret themes, characters, and style for new audiences. They can range from faithful recreations to bold reimaginings.
A late 19th-century era marked by wealth and social inequality, often depicted in theatre for its decadence and class tension.
The “Golden Age Musical” refers to Broadway shows written roughly between the 1940s and 1960s, a period known for integrating songs, story, and character development. These musicals often balanced romance, comedy, and social themes with memorable melodies and large ensembles. Classics from this era continue to shape the foundation of modern musical theatre.
An “I Want Song” is a number, usually placed early in a musical, where a main character expresses their deepest desire or ambition. This song sets the character’s journey in motion and gives the audience a clear emotional stake in the story. It has become one of the most recognizable and enduring conventions of musical theatre structure.
A production created to showcase the talents of a specific star performer, often tailored to their strengths.
A tone of ironic or playful humor used in plays to mock conventions or critique societal norms with subtle sarcasm.
