“Hello, Dolly!” sticks strictly to tradition, gets lift from Betty Buckley

Photos provided by Julieta Cervantes

Whenever “Hello, Dolly!” pops up on a marquee, the star power always seems to be as bright as the lights, whether it was Carol Channing in the original 1964 edition or Bette Midler in the four-time Tony Award-winning revival. And though The Divine Miss M isn’t embarking on a national tour that’s stationed at Chicago’s Oriental Theatre through November 17, it nonetheless gets a lift from stage and screen actress/singer extraordinaire Betty Buckley (“Cats,” “Carrie,” “Eight Is Enough,” “Preacher”).

While “Hello, Dolly!” lacks the flash of countless current endeavors, every aspect of the production is on point as far as delivering its comforts and charms, which is enough to warrant its continuation for lifers, even if it won’t strike much of a match on today’s terms.

Other than changing leading ladies, the current production of “Hello, Dolly!” sticks strictly to tradition, maintaining the essence of its 1835 origins in the English play “A Day Well Spent” and never trying to be anything but a period piece that’s endured for generations. Those who are seeking such a show will find exactly that and likely be satisfied, but anyone looking for even the slightest taste of the here and now may feel the more than two-and-a-half-hour evening moves about as fast as a horse and buggy.

Then again, life during the transition from the 19th to 20th century was obviously a lot slower, which makes the pursuits of its main character matchmaker take at least that long rather than an instantaneous swipe to the right or left. And that good old fashioned romantic pursuit possesses a bygone appeal of its own as a pair of two newly minted couples (whose guys are ditching work for the day) embark on a date at the ritzy Harmonia Gardens supper club where they predictably run into their boss, who’s pressing some luck of his own with two different ladies.

And that’s basically the nuts and bolts, with sprinklings of light-hearted silliness and misunderstandings, though it’s always a treat to catch Buckley strutting her dainty steps in the chorus line or the excellent ensemble engaging in stylish chorography in front of tasteful sets that set the scene for the basic but beloved tale. While “Hello, Dolly!” lacks the flash of countless current endeavors, every aspect of the production is on point as far as delivering its comforts and charms, which is enough to warrant its continuation for lifers, even if it won’t strike much of a match on today’s terms.

“Hello, Dolly!” continues at the Oriental Theatre through Nov. 17. For additional details, visit HelloDollyOnBroadway.com and BroadwayInChicago.com.