As a long time fan, David Simper just had to see this new Dolly Parton musical at the Grand Theatre which did not disappoint. A must see, and not just for Dolly fans.
Arriving at the Grand Theatre I expected Here You Come Again! to be more of a Dolly Parton tribute act. Instead this was a full on musical play, featuring Dolly Parton as a character as well as her music. It was undoubtedly the more satisfying for that.
The stage lights rise and a man throws large bales of toilet rolls through a window and then uses a ladder to climb into the attic room himself. This is clearly a child’s room, but the man is the only occupant – he is a returnee to the family home, despite continually stressing that he is 40. The room is self-contained with a kitchenette and shower room. Dolly Parton posters cover the walls. The man unpacks his groceries and expounds on his lot.
Professor Chris Whitty’s catch phrase ‘next slide please’ emanates from a radio; we are in the Covid pandemic and in lockdown. Within a few sentences, Kevin (Steven Webb) has told us of his situation – exiled from his life with his now former boyfriend and furloughed from his comedy club job, where Peter Kay overwhelmed his one performance. The scene is set.
Attempting to cheer himself up with a much-loved Dolly Parton LP (remember those), he is naturally staggered when the woman herself (played by Tricia Paoluccio) materialises in his attic room refuge to bring him a mixture of homespun wisdom and some glorious renditions of songs including Jolene, I Will Always Love You and Here You Come Again. The outbreaks of audience participation added to the atmosphere. Steven Webb has a fine voice and the two leads duet on Islands In The Stream (we learn that this was written by the Bee Gees).
I was pleased that the show included songs that are not on my twenty track Dolly compilation CD and some that I had never heard. The show was supported by a small band – guitar, bass, keyboard/steel guitar, backing singer – whose members also had small acting roles and created special effects, including snow.
Kevin’s former boyfriend is clearly an antagonist and we all cheer as Kevin rings to say he is not going back to him. His boss is appallingly vile and we all cheer again as an old school friend reappears to offer Kevin a way out of life in his parents’ attic.
There is an excellent riff on country music’s tendency to be maudlin and offer songs about death and misery. At one point Tricia seemed to lose the script temporarily but ad libbed through it beautifully, which added to the warmth of the show.
With Kevin counselled and comforted, and weaned off alcohol and sleeping tablets, Dolly leaves him to use her wisdom to forge a new life for himself. With that new life decided, the clever scenery parts and Dolly and the band, dressed in their best stetsons, boots and white shirts with rhinestones, reappear for a stomping finale re-running several of the songs, only louder and triumphantly.
I found this show to be warm, empathetic and to have a satisfying story arc, despite the underlying fantasy concept of a musical hero appearing and being even better as a person than you dare hope. It catches the pandemic time beautifully. The show is a natural must for Dolly fans, but will please all (it riffs on the idea that not liking Dolly is not normal; the nasty boyfriend is not a fan – boo, hiss!). There were cultural references to films, TV etc and these were nice touches. The songs are well chosen and beautifully performed.
The show is on until Saturday 30th November 2024. Tickets from the box office or online.
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