HERE YOU COME AGAIN

Riverside Studios

★★★★

“an unexpected gem (or should that be rhinestone) of a show”

Should Dolly Parton ever fall on hard times, there is definitely a career for her as a self-help therapist. At least according to the feel-good musical “Here You Come Again”. The Country icon is given enough sugary lines to inspire the most misanthropic among us to cheer up and join in a group hug. The show is an undeniably cheesy affair, but bonkers enough to be brilliantly entertaining, camp, funny and toe-tappingly tantalising.

This is not a musical about Dolly Parton, although we do get a couple of superficial glimpses into her backstory. It is, in fact, about Kevin. It is the summer of 2020 and forty-year-old Kevin is back home, holed up in the attic of his parent’s house. The pandemic is in full swing and he is isolated with nothing to keep him company but his childhood memorabilia: Dolly Parton records and posters. Split up from boyfriend Jeremy and with his professional drama unfulfilled, he is careering towards a mid-life crisis. “What would Dolly do?” he muses. Lo and behold, Ms Parton walks into his life out of his dreams. Or rather crashes into it, exploding from a poster on his bedroom door in a genie-like puff of smoke. Richard Pinner’s illusions are pretty impressive throughout.

Written by American comedy writer and songsmith Bruce Vilanch, with Gabriel Barre (who also directs), and writer and actor Tricia Paoluccio (who also stars as Dolly), it has been anglicised by Jonathan Harvey who provides additional material for the production’s UK run. Apparently it has also been wholeheartedly endorsed by Parton herself, so things are looking good. With the help of its two protagonists, things are looking great. It is an unexpected gem (or should that be rhinestone) of a show. ‘Unexpected’ in the sense that its structure is a surprise, rather than expectations were low. It defies musical convention – no big ensemble; just Tricia Paoluccio as Dolly with Steven Webb as Kevin. It is a curious mix of stand-up, soap opera and jukebox musical. A live band wander on and offstage with backing vocalists also playing cameos as Mum, Dad and ex-boyfriend.

Paoluccio is a dead ringer for Dolly, especially vocally. Totally at ease, she handles the platitude-rich dialogue with good humour and an infectious energy, but it is when she bursts into song that she truly soars. Webb is magnificent as the struggling comedian, Kevin. Eccentric and neurotic, nerdy and needy, and self-deprecating, he knows the joke is on him. And although the jokes are often bad (intentionally so, we like to suspect) the couple have great fun with them. Their relaxed banter drives along smoothly until it reaches the exit slip road to the next musical number. The signposts are obvious and the dialogue becomes somewhat contrived. We are never allowed to forget that the show is a vehicle for Dolly Parton’s back catalogue. But, hey, why not? That’s the whole point, and the creators have found a unique and inspired framing device for such a recognisable repertoire. The favourites are all there, of course, along with a few lesser known hidden secrets.

Country music is notorious for shrouding intelligently bleak lyrics in an upbeat camouflage, a concept that spills over into the script – so that whenever the dialogue is at risk of becoming dark or deep, Dolly’s relentless optimism (or ‘insufferable positivity’ as Kevin calls it) over-sweetens it with way too many spoonfuls of sugar.

You certainly don’t need to be a fan of Dolly to appreciate the show. In fact, even if you claim not to be (though I suspect you’re just in denial) I’d still urge you to see it. The sense of fun is intoxicating and the performances are exceptional. The personal touches they add to the songs are often hilarious too – their rendition of ‘Jolene’ is worth the ticket price alone. We are even given a whirlwind medley of the greatest hits at curtain call, during which the show morphs into full-on gig mode. The crowds are now on their feet. This finale may have absolutely nothing to do with the rest of the show, but most of us have forgotten the plot by now. We’re just basking in Dolly’s light and forgetting our troubles. Kevin certainly has – he’s a whole new man. This is a joyous musical, but beware – you’ll be humming those songs well into the New Year.

HERE YOU COME AGAIN

Riverside Studios

Reviewed on 20th December 2024

by Jonathan Evans

Photography by Hugo Glendinning

Previously reviewed at this venue:

DECK THE STALLS | ★★★ | December 2024

THE UNSEEN | ★★★★ | November 2024

FRENCH TOAST | ★★★★ | October 2024

KIM’S CONVENIENCE | ★★★ | September 2024

THE WEYARD SISTERS | ★★ | August 2024

MADWOMEN OF THE WEST | ★★ | August 2024

MOFFIE | ★★★ | June 2024

KING LEAR | ★★★★ | May 2024

THIS IS MEMORIAL DEVICE | ★★★★ | April 2024

ARTIFICIALLY YOURS | ★★★ | April 2024

HERE YOU COME AGAIN

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★★★

“a joyful celebration that brings a smile to our faces”

In today’s Google-driven society there are numerous sites on the internet that advise us on the dos and don’ts of that infamous English institution: the office Christmas party. In the past we would just muddle through and deal with the hangover and yearly embarrassment in our own time, with heads bowed low by the water cooler. Lydia Kavanagh’s one act, one person play takes us straight into the heart of an end-of-year celebration, complete with Prosecco, vol-au-vents, cheesy music and all the mixed personality types who put their inhibitions through the shredder for a couple of hours. Even if you’ve never held an office job, Laura Rea’s naturalistic performance in “Deck the Stalls” allow us to relate to the many personalities she portrays.

Rea is Serena, a no-nonsense Geordie from the Byker district of Newcastle. An English Lit graduate who somehow ended up in Milton Keynes as an office worker. Trapped in life she is now cornered on all sides at the party before finding a narrow escape route to the toilet cubicles. There’s Middle Management Maddison who loves to delegate, HR Sandra who loves rules but has ‘gone rogue’ after one too many glasses of bubbly; single mum Chrissie from data analysis, and Dave – the ‘self-imposed’ DJ for the night (nobody asked him to spin the decks); Guardian-reading, ‘morally vegan’, lesbian Ellen. And finally, Steven, the fit dad who cycles to work, thoroughly married but carrying on with Serena in the broom cupboard at work.

It is an office that is built on formula and somewhat clichéd caricature, but Rea gives a freshness to each, deftly switching accents, mannerisms and facial expression. The comedy is all very predictable, and we are wondering where it is going but Rea has a way of engaging with the audience that keeps us waiting. For there is a bombshell – or rather more of a party popper. It isn’t going to bring the roof down, but it does give a twist that leads us out of the humdrum. There is also an undercurrent to the festivities that the writing uncovers. As we follow Serena into the ladies’ cubicle (it’s okay, we’re allowed to do that – it is the office party after all) we see another side to her. It is her first Christmas since her father passed away and for a few moments we glimpse the sense of grief that is buried beneath the armour-plated cynicism. For Serena, being alone is the best way to alleviate her sense of loneliness.

It is the contrast of the raucous humour and the quiet reflection that lend shade to the evening, except the highs and the lows are not sufficiently explored and we find ourselves on fairly level ground. We are unsure of how far Serena has sunk into her sadness or how much focus we should be putting onto it. Serena, too, is not the most sympathetic character so it is difficult to fully root for her. Nevertheless, Rea’s versatility creates a very watchable personality who, under Chloe Cattin’s taut direction, brings to life the chaos of office politics gone astray under the influence of alcohol. Some call this ‘Anti-Panto’. It acknowledges that regret and despair don’t take a holiday – even at Christmas. But “Deck the Stalls” still manages to be a joyful celebration that brings a smile to our faces.

HERE YOU COME AGAIN

Riverside Studios

★★★★

“an unexpected gem (or should that be rhinestone) of a show”

HERE YOU COME AGAIN

Riverside Studios

Reviewed on 20th December 2024

by Jonathan Evans

Photography by Hugo Glendinning

Previously reviewed at this venue:

HERE YOU COME AGAIN

HERE YOU COME AGAIN

HERE YOU COME AGAIN

DECK THE STALLS

Riverside Studios

★★★

“a joyful celebration that brings a smile to our faces”

DECK THE STALLS

Riverside Studios

Reviewed on 18th December 2024

by Jonathan Evans

Photography by Jamie McNaught

Previously reviewed at this venue:

DECK THE STALLS

DECK THE STALLS

DECK THE STALLS