Here You Come Again – The Lowry, Salford

Writers: Bruce Vilanch, Gabriel Barre and Tricia Paoluccio

Additional Material: Jonathan Harvey

Director: Gabriel Barre

It was inevitable that the COVID-19 virus would influence new productions and musicals. I’m just amazed it took so long for me to see one. However, had you said that my first show featuring the pandemic would be a Dolly Parton centred juke-box musical, then I’d have asked for a pint of whatever you were drinking!

Rather than telling the story of everyone’s favourite Country Music superstar, Here You Come Again, focuses on Kevin (Steven Webb), a 40-something Dolly superfan who has moved back into his parent’s attic in Halifax following a messy break-up, which just so happens to coincide with a global pandemic.

Kevin is lost, low on confidence, and miserable with how his life has turned out thus far. His safe space is his childhood bedroom and his shrine to his idol: Dolly Parton. Armed with his record player, his favourite Dolly albums, and meals sent up via a winch by his parents, Kevin hopes to keep him and his parents safe and figure out what’s gone wrong. But when things hit rock bottom, Dolly Parton (Tricia Paoluccio) springs into life emerging from a poster hung on the bedroom wall, ready with plenty of words of wisdom and some fabulous tunes.

Dolly, it would seem, is like a guardian angel appearing to people when they need her the most. As the pair discuss Kevin’s troubles, we learn that life hasn’t always been easy for Dolly either, that the pair share similar experiences and disappointments, and that although Kevin may seem alone, he will always have Dolly to turn to.

This is a production filled with joy and positivity that you can’t help being swept along for the ride. It’s refreshing to see something a little different from a jukebox musical, rather than a re-written history lesson on a certain band or artist which is often the trope. We get something quirky and totally unexpected. Whilst the premise may at first seem a little odd, once you get on board, your viewing will be all the better for it.

The production is anchored by two fabulous central performances: Tricia Paoluccio puts in a near-flawless turn as Dolly Parton. It’s a performance filled with Parton’s trademark energy, cheeky little asides and giggles. In addition, her vocals are superb throughout and she more than does justice to Parton’s back catalogue: a near-perfect version of Love is Like a Butterfly is one of the show’s many highlights.

Steven Webb puts in an energetic turn as Kevin striking the right balance of vulnerable and manic. It’s a great comedic outing from Webb, who handles the self-deprecating humour beautifully as well the punchy dialogue. A particular joy is Kevin’s takedown of Parton’s more morbid songs, which Webb does exceptionally well.

The pair make an engaging duo throughout, bouncing off each other and they clearly have a great deal of chemistry. Their work on Jolene is top drawer as Paoluccio absolutely nails the song, whilst Webb lampoons the lyrics.

They are joined by singers Aidan Cutler and Charlotte Elisabeth Yorke, who play a host of minor characters, whilst adding backing vocals and harmonies throughout. The music is performed by a super-talented group of musicians who drift on stage as and when required. They are mainly located in the ceiling of Paul Wills’ innovative stage design, which looks fabulous and is a throwback to the 80s with popular toys of the day littering the set, The Big Yellow Teapot being one of many.

The show unashamedly sets out with a feel-good agenda, with writers Bruce Vilanch, Tricia Paoluccio (pulling double duty), Jonathan Harvey and writer/director, Gabriel Barre going all in with messages of positivity and faith. Whilst it’s a brave move to spotlight the pandemic, which still may be raw for some people, it does so from a good place, with the best of intentions.

Some songs feel shoehorned in: the appearance of 9 to 5 whilst welcome feels out of place -but you can’t have a Dolly Parton musical without it. Whilst Two Doors Down is a fun number the cheeky jab at the Downing Street parties doesn’t quite hit the mark.

This is a celebration of the songbook of one the world’s most loved entertainers, done in a refreshingly goofy but always entertaining way. There is never a dull moment when Dolly comes a calling and we’re all the better for it.

Runs until 2 November 2024