But Ms. Midler isn’t coasting on the good will of theatergoers who remember her as the queen of 1980s movie comedies or as the bawdy earth goddess of self-satirizing revues from the ’70s onward. As the center and raison d’être of this show, which also features David Hyde Pierce in a springtime-fresh cartoon of the archetypal grumpy old man, Ms. Midler works hard for her ovations, while making you feel that the pleasure is all hers. In the process she deftly shoves the clamorous memories of Carol Channing (who created the role on Broadway) and Barbra Streisand (in the 1969 film) at least temporarily into the wings.
The show as a whole — which has been designed by Santo Loquasto to resemble a bank of Knickerbocker-themed, department store Christmas windows — could benefit from studying how its star earns her laughs and our love. Playing the pushiest of roles, the endlessly enterprising matchmaker Dolly Levi, Ms. Midler never pushes for effect. Her every bit of shtick has been precisely chosen and honed, and rather than forcing it down our throats, she makes us come to her to admire it.
Much of the rest of Mr. Zaks’s production charges at us like a prancing elephant, festooned in shades of pink. This is true of the hot pastels of Mr. Loquasto’s sets and costumes, and of Warren Carlyle’s athletic golden-age-of-musicals choreography, which is both expert and exhausting.
When an onstage laugh is called for, it comes out as a deafening cackle or a guffaw, which is then stretched and repeated. Double takes, grins and grimaces are magnified into crushing largeness, while the chase sequences bring to mind slap-happy Blake Edwards comedies. Even reliably charming performers like Gavin Creel and Kate Baldwin, who play the plot’s supporting lovers (with Taylor Trensch and Beanie Feldstein as their second bananas), seem under the impression they’re in a Mack Sennett farce.
My audience couldn’t have been more tickled by these hard-sell tactics, which hew closely to Gower Champion’s original staging. A tone of sunny desperation isn’t out of keeping with what seems to be this production’s escapist mission, which is to deliver nostalgia with an exclamation point.
Featuring a book by Michael Stewart and a tenaciously wriggling earworm of a score by Jerry Herman (given gleaming orchestral life here), “Hello, Dolly!” is a natural vehicle for rose-colored remembrance. It was adapted from Thornton Wilder’s play “The Matchmaker,” which grew out of his “The Merchant of Yonkers,” itself adapted from an 1842 Austrian reworking of an 1835 American one-acter.