The Alexandra Theatre Birmingham on until saturday SEPTEMBER 14TH.
**** “an uplifting delight”
This musical production of the US-produced show (with band and backing singers) takes place in our obsessed hero Kevins (Aidan Culter) loft after he had been dumped during COVID lockdown. The set is a delight full of children’s toys that has your eyes looking all around the set and Kevin sleeps eats and lives in the loft – but then, lovable Kevin meets an imaginary Dolly who is as real as can be, who builds his confidence to make changes and grow emotionally.
Tricia Paoluccio plays Dolly to perfection her speaking voice her humour and above all her singing voice are first class.
Sometimes musicals have weak plots, but this one follows Kevin (Aidan Culter) coping with lockdown being dumped by his partner with only Dolly Parton posters for company. Here You Come Again follows Kevins journey he builds his confidence from her and makes meaningful changes to his life.
Writing by Jonathan Harvey gives great comedy lines to Dolly and gives direction to Kevin’s energetic performance.
But what about the music? The cornerstones of Dolly Parton’s music are embedded well into this show. With hits like “Two Doors Down,” “Islands in the Stream” and “Jolene” alongside fitting songs like “Love Is Like a Butterfly” it balances this production well. The band made up of Jordan Li-Smith, Alex Akira Crawford, Ben Scott, and Kevin Oliver Jones transitioned from the background to the forefront of the action quite a lot in this show and this worked well with the style of this show.
What was even better was that this audience respected that this show was about the performers themselves, not at all using it as an opportunity to sing along. However, there are times when the performers encourage you to join, and this is well respected.
Here You Come Again is a great show that will win over audiences. You do not need to be a fan of Dolly Parton to enjoy everything this musical has to offer, and you will leave the theatre feeling pleasantly surprised with what is executed on the stage.
Reviewed by Stephen Robinson
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