Tag Archives: Recommended Show

HERE YOU COME AGAIN

β˜…β˜…β˜…β˜…

Riverside Studios

HERE YOU COME AGAIN

Riverside Studios

β˜…β˜…β˜…β˜…

“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 β€œHere 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. β€œWhat 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. β€˜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 β€˜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 β€˜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 | β˜…β˜…β˜… | December 2024
THE UNSEEN | β˜…β˜…β˜…β˜… | November 2024
FRENCH TOAST | β˜…β˜…β˜…β˜… | October 2024
KIM’S CONVENIENCE | β˜…β˜…β˜… | September 2024
THE WEYARD SISTERS | β˜…β˜… | August 2024
MADWOMEN OF THE WEST | β˜…β˜… | August 2024
MOFFIE | β˜…β˜…β˜… | June 2024
KING LEAR | β˜…β˜…β˜…β˜… | May 2024
THIS IS MEMORIAL DEVICE | β˜…β˜…β˜…β˜… | April 2024
ARTIFICIALLY YOURS | β˜…β˜…β˜… | April 2024

HERE YOU COME AGAIN

HERE YOU COME AGAIN

HERE YOU COME AGAIN

 

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DUCK POND

β˜…β˜…β˜…β˜…

Royal Festival Hall

DUCK POND

Royal Festival Hall

β˜…β˜…β˜…β˜…

“It is a wonder, without a doubt, and delightfully potty”

Australian company Circa has intertwined the myths of Swan Lake and The Ugly Duckling to create a muscular and gasp-inducing circus ballet that is rich in both beauty and spectacle.

β€œD-u-c-k!” one is tempted to shout, seeing the toned performers flung perilously across the expansive stage of the Royal Festival Hall. This is where art, performance and extreme physicality come together to push back the boundaries of what’s possible in the bruising realm of acrobatic storytelling.

As the performers swing from billowing wraps, make towers that almost touch the lighting rigs, tumble from ridiculous heights, and twist bodies until surely they must break, there are sharp intakes of breath across the auditorium – along with sympathetic twinges in dozing deltoids. Meanwhile, somewhere in a corner of the Southbank Centre, a health and safety manager is having a quiet meltdown.

These are daffy ducks. They are dexterous ducks, dazzling ducks and, above all, daring ducks.

Here’s the story in outline, taking the ornithological inexactitude of the original and giving it a tweak and twist.

At a palace celebration for the Prince’s birthday, the revelry ends abruptly. The Prince meets the Ugly Duckling, and with Cupid’s intervention, they fall in love. However, their romance is overshadowed by societal barriers. Instead, the more suitable and wily Black Swan captivates the Prince’s heart.

But fortunes change when the Ugly Duckling discovers she is, in fact, a swan herself. And here comes the modern twist – it is the Black Swan and White Swan, two sapphic swans a-swooning, who fall in love, leaving the Prince in a flap.

It’s best to know the rudiments of the story going in. This wordless show is about the sheer artistry and physicality of the human form (those mince pies seeming twice as inhibiting now). But the whispers around the auditorium suggest the youngsters like to know roughly what’s going on and who’s who.

And then, after the climactic nuptials comes the coda, the extended – and probably unnecessary – third act. The swansong, if you will. Once the story is wrapped up, we’re given a meta-view of the performers, stripping off and breaking down the set. In Fame School bursts of exuberance, everyone has a last chance to do a party piece. It gets a little raunchy here, but tongue-in-cheek.

Director Yaron Lifschitz has it right when he calls this superior mix β€œsomething new – neither quite ballet nor circus… moving yet accessible”.

It is a wonder, without a doubt, and delightfully potty.

This Christmas, make a change and put duck on the menu.



DUCK POND

Royal Festival Hall

Reviewed on 19th December 2024

by Giles Broadbent

Photography by Pia Johnson

 

 

 


 

 

 

 

Previously reviewed at Southbank venues:

MARGARET LENG TAN: DRAGON LADIES DON’T WEEP | β˜…β˜…β˜…β˜… | May 2024
MASTERCLASS | β˜…β˜…β˜…β˜… | May 2024
FROM ENGLAND WITH LOVE | β˜…β˜…β˜…Β½ | April 2024
REUBEN KAYE: THE BUTCH IS BACK | β˜…β˜…β˜…β˜… | December 2023
THE PARADIS FILES | β˜…β˜…β˜…β˜… | April 2022

DUCK POND

DUCK POND

DUCK POND

 

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