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

We’re now on BLUESKY – click to visit and follow

★★★★

“unashamed fun, energised performances and a true, light-hearted celebration of decadence”

Nearly a quarter of a century on from its premiere at The Arts Theatre, Jonathan Harvey’s “Closer to Heaven”, with music from the Pet Shop Boys, is having another stab at getting closer to its goal. Although we’re still not quite sure what that is. So, for the time being it is best to take it at its superficial face value and plump for the sheer entertainment value it provides. It has that in abundance. Simon Hardwick’s revival splashes it over the gossamer-thin text in sexy swathes of flamboyance and camp panache. Designer David Shields has transformed the Turbine Theatre’s space into Vic’s club (surely soon to become a landmark as celebrated as ‘Rick’s Café’), complete with cabaret tables, haze, ultraviolet neon and dancing boys. We are closer to Heaven – the nightclub – than ever before.

Mistress of ceremonies is Billie Trix; a washed-up former icon, afraid to look in the mirror. Although we don’t quite understand why – Frances Ruffelle looks pretty damn good, and sounds sensational when she sings. The purity and emotion shines through, particularly in her solo numbers such as the evocative ‘Friendly Fire’ that opens the second act. She loses a touch of her command when she dips into dialogue, with a voice ravaged by years of abuse and an accent that has clearly lost its way. The owner of the club has a similarly tenuous hold on the proceedings. Filled with as many regrets, Kurt Kansley’s Vic is a bruiser with a heart of gold; a gay man trapped in a divorced father’s body, trying to make amends with a daughter who yearns for somebody to call Dad. His estranged daughter, Shell, is remarkably familiar with Vic’s entourage for someone who has just walked into his life after fifteen years, but we can overlook these discrepancies. Courtney Bowman’s standout performance lifts her character from the shallow text like the pages of a technicolour pop-up book that fold out into three dimensions.

A love story trickles away as a sub plot. Shell falls for newcomer Dave (Glenn Adamson). Or rather ‘Straight Dave’ as he is known – a nickname that is plainly in breach of the Sale of Goods Act. Dave falls for local drug dealer, Mile End Lee (Connor Carson). A sticky end all round is unavoidable. Adamson’s Dave is a wannabe singer and dancer whose integrity is as ill-fitting as a tight pair of shorts, while Carson’s angelic looks fail to betray any notion of his lifestyle. Of course, they ‘get it on’, to the chagrin of Shell, but the sparks don’t quite fly. And the repercussions trigger shoulder-shrugs rather than shockwaves of emotion.

There are moments of humour, with choice one-liners shared among the cast. David Muscat’s slippery music mogul, Bob Saunders, devours the clichés with relish and it’s difficult to tell whether he is choking on the words or his tongue in his cheek. But the whole company are having a ball. Especially Ruffelle, whose gleeful, natural exuberance shines brighter, warmer and more dazzling than the cool neon and swinging LED beams of light.

The music is everything you would expect of the Pet Shop Boys, but with more theatricality and a refreshing dynamic that is absent from their chart toppers. The score carries the show, along with the impeccable vocal performances. It is a beautifully dressed show, and slickly choreographed by Christopher Tendai. The ensemble are as integral as the leads, and just as watchable. If the performers are the stars, the costumes are the superstars.

We feel uplifted by the time we reach curtain call, which is surprising given the schmaltzy, message-heavy finale that wants to pull us under like a bed of quicksand. Yet we feel high. Not quite as high as the ketamine-fuelled characters onstage, mind, but at least we’ve remained this side of the law. Vic’s club is a place we’d like to frequent when looking for unashamed fun, energised performances and a true, light-hearted celebration of decadence. Well worth getting close to.

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

CLOSER TO HEAVEN at the Turbine Theatre

★★★★

“unashamed fun, energised performances and a true, light-hearted celebration of decadence”

CLOSER TO HEAVEN at the Turbine Theatre

Reviewed on 5th June 2024

by Jonathan Evans

Photography by Mark Senior

Previously reviewed at this venue:

CLOSER TO HEAVEN

CLOSER TO HEAVEN