Lovers of classic musicals may feel a pang that this production lacks the lavish set and large cast Hello, Dolly! usually delivers, while newcomers might struggle with a story so light it almost evaporates. Nevertheless, there’s enough zing and professionalism in this first 2017 outing for The Production Company to get audiences on side.

The gossamer-thin plot populated with uncomplicated characters centres on a popular widow living in New York in the late 19th century. Dolly is busy matchmaking and generally facilitating romance, including for Horace, who she is actually strategically lining up for herself. Meanwhile, this wealthy merchant is trying to thwart the love affair between his niece, Ermengarde, and poor artist Ambrose, and bullying his employees, Cornelius and Barnaby, who sneak out for a day on the town and fall for milliner Irene and her assistant Minnie. Everyone converges at a fashionable restaurant, where mayhem ensues.

^{Marina Prior in Hello, Dolly! Photos © Jeff Busby}

Marina Prior is a crowd-pleasing Dolly, moving about the stage in a series of flamboyant costumes with poise. She’s particularly at ease sparring with real-life husband Grant Piro, who plays grouchy Horace with just enough excess. Prior sings with customary control and power, though a few notes were slightly rough around the edges on opening night. This and, perhaps, her wavering Noo Yoik Jewish accent, are likely symptoms of The Production Company’s alarmingly short rehearsal periods, and should be resolved during the season.

^{Marina Prior and Grant Piro}

Verity Hunt-Ballard (best known as a practically perfect Mary Poppins) also delivered a few slightly flat notes, but like Prior her warm, pure voice is pleasing, and her portrayal of Irene very sweet. Glenn Hill is endearing as her earnest, plucky love interest Cornelius, whose wide-eyed buddy Barnaby is interpreted with charm and energy by Nigel Huckle. As weepy Ermengarde (who wouldn’t cry with a name like that?) and bouncy Minnie, Baylie Carson and Imogen Moore do all that can be done with these silly young female roles, as does Jack van Stavern as unremarkable Ambrose. Alana Tranter is suitably outrageous as a tawdry decoy for Horace’s affections.

^{Nigel Huckle, Imogen Moore, Vertiy Hunt Ballard and Glenn Hill}

Under the direction of Gary Young, the whole cast commits to the show, most notably in the Act Two restaurant scenes, starting with the Waiters’ Gallop. The energy is noticeably raised by this scene’s vaudevillian pratfalls and lithe, frenetic dancing by the male chorus and Mike Snell as the maître d’. This quickly segues into the title song’s vocal grandeur, achieved with the full cast of 18. Elsewhere, the chorus’ harmonious singing delivers a remarkably fulsome sound, as does the modest on-stage orchestra of 14 conducted by Vanessa Scammell. Unfortunately some instruments were lost in the sound mix – hopefully another minor matter that will be resolved during the season.

^{Verity Hunt Ballard and Glenn Hill}

The orchestra play in the centre of horseshoe-shaped stairs that split the stage into two levels. Shaun Gurton’s set is otherwise limited to silhouetted architectural frames dropping in and out as hints of location, and basic props such as store counters and the restaurant’s potted palms. The cast’s colour and movement is what fills the stage: choreographer Kirsten King has achieved wonders with the chorus given the rehearsal period; Isaac Lummis’ costumes, which express the late 19th-century taste for lurid chemical dyes and American flashiness, are eye-popping. Prior’s shimmering, figure-hugging gown for the title song is spectacular under lights.

While Hello, Dolly! is a musical of little substance, and this production trims where it can (including a song from Act One), the cast’s beaming attitude and energy mostly fills the gaps. As old-fashioned, lighthearted fun, it delivers.