Andrea Horrocks
(6 Reviews)

Many of us first encountered A Christmas Carol and Scrooge’s story as children, it may have been the book, a film or a theatre performance that you remember but certain moments stay with us, it may be the fondness for one of Dickens’ unforgettable characters, a fear of the ghosts and rattling chains, the joy of Christmas spirit, or memories of singing along with the Muppets.   This is a tale that holds a deep emotional connection for so many, including myself.  I therefore felt particularly fortunate this evening to settle in at The Octagon Theatre to be whisked away to Victorian England for an unforgettable, upbeat, joy-filled adaptation of A Christmas Carol and I wasn’t disappointed. Director, Sarah Tipple’s vibrant, magical, joyous adaptation will leave you feeling thankful, bursting with Christmas spirit.

I’m not sure A Christmas Carol needs much introduction, but for those who may have missed it, the story follows Ebenezer Scrooge, a miserly, penny-pinching old man who embarks on a magical journey one Christmas Eve when he is visited by four ghosts, the first being his late business partner. Their purpose is to show Scrooge the error of his ways and confront him with the consequences of his choices. But will their intervention be enough to lead him to redemption?

There have been so many different adaptations of A Christmas Carol over time that you can be forgiven for allowing the scenes which belong to Dickens’ text blur with those which have been added or embellished.  Kate Ferguson and Susanna Pearse’s modernised family adaptation uses the key moments from Dickens’ story but transposes some scenes and adds new touches of its own giving the story a fresh perspective.  Susanna Pearse’s music and lyrics are key in this version and are powerful throughout lifting the tone to appeal to a family audience. You are treated with lively songs which will have you clapping along as well as more poignant, heartfelt ones. 

Hannah Wolfe’s set is simple, yet impactful, clever use of the round theatre and well-placed furniture paired with Simeon Miller’s ambient and atmospheric lighting set the mood and tone beautifully.  From the opening scene we are transported to Victorian England, however, this is a production that brings in the new with the old, modern costumes and props are woven into the period setting, creating a fusion which feels fresh while still honouring the classic tale.  The bright, neon, modern costumes serve as a stark contrast to Scrooge’s sombre attire and the brightly coloured banner raised above our heads for Fezziwig’s vibrant party.

Dave Birell’s (Educating Rita, Talking Heads, An Enemy of the People) Ebenezer Scrooge although less intimidating than you may expect is entirely believable.  Birell perfectly pitches the character, balancing Scrooge’s miserly traits with humour that keeps him engaging throughout. Since this Scrooge feels less intimidating I wondered if the transformation would be less impactful but absolutely not - Birell digs deeper and brings even more energy to the role delivering an unmistakable, satisfying transformation.

Except for Dave Birell’s Scrooge, each cast member delivers multiple roles with impressive ease.  This is a remarkable cast of just five plus two talented youth members, every performer is outstanding and when they all come together on the stage the energy is vibrant and infectious. This production is fast paced yet they handle their multiple roles brilliantly keeping the show flowing without feeling chaotic.

Scrooge’s first ghostly encounter strikes the perfect balance between humour and unease, Marley played by William Donaldson (Witness for the Prosecution, Much Ado About Nothing, The Tempest) appears to Scrooge in a surprising way and cleverly manages to be both serious and playful as he drags himself around the stage with his heavy chains.  Donaldson also plays Bob Cratchit, Scrooge’s underpaid and overworked clerk, he delivers the character with joy and warmth making him instantly likeable.

Fezziwig’s party immediately lifts the audience’s sprits; it’s a joyous scene with a catchy song and some actions that invite audience participation.  Fezziwig’s character serves to contrast with Scrooge, he is a generous, compassionate employer who throws a Christmas party every year and is played by Conor Neaves (Saint George and the Dragon, The Jungle Book, The Very Hungry Caterpillar). Neaves does a fabulous job of conveying Fezziwig’s warmth and kindness a quality which he also brings to his role as Fred making his sincerity at wanting to spend Christmas with Scrooge entirely believable.

The golden, sparkly cloak of the Ghost of Christmas Past was the costume I envied, I would love one as my Christmas Day outfit!  Hannah Brown brought magic to the stage in abundance, playing the part of the Ghost of Christmas Past in a gentle yet powerful way enchanting the audience by magically lighting lanterns around the stage, glowing at the Spirit’s command. Brown exudes positivity in her role of Fan which contrasts perfectly with her brother Scrooge’s bleak outlook on life.

Lucy Keirl (Murder for Two, The 39 Steps, Much Ado About Nothing) plays both Belle and the Ghost of Christmas Present.  Keirl explodes onto the stage on a scooter as the Ghost of Christmas Present and launches into an extremely energetic rock song about Pudding, this spirit loves pudding!  The dynamic between her and Scrooge is fabulous with a perfect mix of humour, side glances and playful timing that keeps the audience laughing and engaged.  As Belle, Scrooge’s finance Keirl brings spark and sensitivity, we are offered a glimpse into what might have been if Scrooge had made different choices.

The themes presented in A Christmas Carol are just as relevant today as they were in Dickens’ time and what better moment to reflect on them than with this uplifting performance, a reminder of the Christmas spirit, being thankful, thinking of others and embracing generosity and kindness. 

A Christmas Carol is a magical, heartwarming celebration for all ages. This is not the brooding, scary version, it is designed with families in mind, its fun, joyous nature combined with the traditional elements of the story, comical characters and perfect balance of seriousness and humour make it thoroughly enjoyable for everyone.  I urge you to head to The Octagon this Christmas and immerse yourself in sparkle, festive fun and this timeless story.

WE SCORE A CHRISTMAS CAROL...

Patricia Highsmith’s iconic 1955 psychological thriller The Talented Mr Ripley has remained as compelling today as ever.  Her unforgettable antihero, Tom Ripley and his chilling story continues to fascinate and mesmerise generations.  Ripley was brought to life on screen by Matt Damon in the 1999 film and more recently by Andrew Scott in the Netflix series and now for the first time this dark, intriguing, disturbing tale takes to the stage.  Being one of the many captivated by Tom Ripley and the dark intricacies of his mind, I couldn’t wait to see how his world of deception and adventure would unfold in this stage production by award winning adaptor and director, Mark Leipacher (Peter Brook Award, Off West End Award, Macbeth)

The Talented Mr Ripley is an extreme story of the desire to become someone else. Tom Ripley is a dreamer yearning for a better life and he seizes opportunities which he believes may lift him up.  So, when a wealthy stranger offers him an all expenses paid trip to Italy to retrieve his wayward son, Dickie Greenleaf, Ripley accepts and his life is set on a dangerous new course and a world that will change him forever. 

Upon arriving in Italy, Tom introduces himself to Dickie, eager to prove himself a worthy companion and desperate to slip into Dickie’s glamourous world. Though initially reluctant, Dickie soon welcomes Tom into his life, and Tom quickly becomes seduced by Dickie’s charm, freedom and effortless wealth which is so very different from his own reality. What begins as admiration and friendship gradually becomes obsession, propelling Tom into a dark, spiralling journey of lies, deception and identity itself.

On entering the theatre and taking in the set for the first time, its striking simplicity immediately stands out.  The black backdrop and uncluttered raised platform at centre stage holds only a typewriter and a lamp.  The power of this minimalism in Holly Piggot’s set should not be underestimated as the audience are invited to use their imagination. The hidden entrances and exits for both the actors and the props allow for clever transitions and offer intriguing, disorienting perspectives that draw you deeper into the story. 

Zeynep Kepkli’s lighting paired with Max Pappenheim’s sound design cleverly highlights the set’s strengths, bright neon strip lighting and sound that envelops you around the room shifts the mood and transports us effortlessly to different locations, from bars and apartments to sun-drenched beaches and crucially the water scenes.

Tom Ripley played by Ed McVey (Netflix’s The Crown as Prince William) does not leave the stage for the entire production and his energy never faulters throughout.  He establishes the tone of suspense and paranoia from the onset as he questions, “Do you ever feel like you’re being watched?”. The audience are immediately transported to Tom’s unsettling mind. 

McVey’s outstanding fast-paced delivery and animated performance are mesmerising.  Ripley is an incredibly complex character and McVey captures his many nuances with precision, the ease in which he changes personas is captivating and chilling to watch.  Tom blurs the lines between his fabrications and reality, and McVey portrays this brilliantly.

Well-timed humour and the use of breaking the fourth wall work brilliantly to create a more intimate connection between the audience and Ripley.  Tom confides in the audience about his deceit and his conflicted conscience, a struggle which is also emphasised by the fabulous ensemble.  The clever choreography is integral to story but also guides Ripley through his shifting emotions and highlights his inner turmoil and his ambition. 

The element I found a little confusing, however, was the sudden burst of bright white light accompanied by shouts of “Cut!” and “Action!” I wasn’t entirely sure how this moment fitted into the narrative and it for me it added an extra element which didn’t immediately seem clear or necessary.  On reflection, I wonder if it was intended as a glimpse into Tom’s fast-paced, calculating mind, perhaps his way of running through possibilities and rehearsing scenarios before they unfold.

Bruce Herbelin-Earle (Netflix Series Free Rein, Amazon/MGM feature film The Boys in the Boat) makes a confident professional theatre debut playing Dickie Greenleaf.  We first meet Dickie on a sun-drenched beach in Italy enjoying the moment close to his girlfriend Marge Sherwood played by Maisie Smith (Eastenders, The Other Boleyn Girl, Strictly Ballroom The Musical).  Hereblin-Earle and Smith transport us to their glamourous world, sipping cocktails and talking of travel around Europe.

Dickie Greenleaf is charming, impulsive and it seems he gets everything he wants, Herbelin-Earle embodies the character with ease making the character convincing portraying the shifting relationship with Tom believably creating a compelling stage dynamic.   His genuine connection with Marge is strengthened by Smith’s performance as she portrays Marge as a sweet, endearing, independent woman who appears to be loving life until her world falls apart.  Smith’s gentle performance also conveys Marge’s inner strength and keen sense of judgement.

Despite the fast pace of the dialogue the storyline can sometimes lack momentum, however with the help of the ensemble who not only excel with the clever choreography but as actors who convincingly play multiple roles and continually appear from different parts of the stage they add vital elements that enrich and propel the story forward.  Leda (Julius Caesar, Pride and Prejudice) is particularly convincing in her many roles, delivering the characters with strength and transitioning effortlessly.

The relevance in today’s digital world is particularly striking. We are asked whether we ever feel like we’re “being watched” and in an age dominated by social media this is a very real sensation.   Many people feel constantly watched or followed and many also feel the need to become someone else online.

The Talented Mr Ripley is a mesmerising and intoxicating journey into a world of ambition, deception and deceit.  First time viewers and those already familiar with the book or screen adaptations will find themselves drawn into the captivating world of Tom Ripley.  With sharp performances and clever staging, this production will offer you a fresh and compelling take on Patricial Highsmith’s classic thriller.


WE SCORE THE TALENTED MR RIPLEY...




Watch our "In Conversation with Bruce Herbelin-Earle" discussing the show

Going Out Out is a brand-new play written by Barney Norris (Visitors, Eventide, Nightfall) and directed by Jess Edwards (Conversations After Sex, Carrie: The Musical, War & Culture) so when I was invited to review the show, I was excited but had no idea what to expect! I’d done my homework, I watched the fabulous interview with James Quinn on ManchesterTheatres.com and I knew there was a superb cast, so I arrived at HOME Manchester full of anticipation. What I experienced was a soulful journey of laughter, joy, hope and courage.  Going Out Out envelops you in a perceptive story filled with music, healing, and joy. It is a story rich with themes and layers that draw you in and out of thought-provoking ideas, keeping you engaged from start to finish.  The threads of grief and loneliness are carefully intertwined with hope and friendship throughout, and with the clever use of set and lighting, we’re treated to a heartwarming and poignant story – one that also shines with the humour, fun and sparkle of drag.

When I entered the theatre, the first thing that caught my eye was the small sparkly podium and microphone to the left of the stage. It quickly became clear that this glitzy setup was in sharp contrast to the rest of the set, which was styled as a simple, understated living room and a very “beige” one at that. Beige wallpaper, beige sofa, a simple coffee table, and not a photo or picture in sight. It was neat and tidy, almost too much so, and noticeably lacking in personality, this wasn’t the typical drag queen set I was expecting but all became clear once we were introduced to Ian, a widower played by James Quinn (Many appearances at Manchester’s Library Theatre, TV credits Early Doors, Brassic, After the Flood, Bancroft, Doctor Who, Gentleman Jack, Coronation Street).

Ian enters the stage wearing one of his late wife’s dresses, it makes him feel closer to her, and, as he explains, it makes him feels cooler on a hot day.  We learn that he was once an outgoing, smart, bright man, but as he spent more time at home caring for his wife before she passed away, his world began to shrink. Now, as a widower, he’s become a recluse, he has a distant and complicated relationship with his daughter and is seemingly estranged from his son and is so accustomed to staying at home that he finds it difficult to leave the island his home has become.  We get a sense of the loneliness Ian is feeling as he tends to his garden singing away to himself but he is startled by the entrance of Raz played by Darren Kuppan (TV credits Dodger, Spooks, Home from Home, Coronation Street) who is delivering his shopping.  Neither of them realises that this meeting will lead to a beautiful friendship that will entice Ian out of his home and island and into the vibrant Manchester Drag scene.  It is perhaps an unlikely friendship between a man in his 60s and a drag queen yet it is a friendship which creates space to ask questions, removes the awkwardness of misunderstanding and opens the narrative in a way that makes it OK to get things wrong.

From this moment, we are invited to share in Ian’s transformation. Although this transition seems to happen at a speed which is slightly at odds with Ian’s struggles, nonetheless we share in his frustration at how small his world has become and feel his sadness as he faces the reality of reaching the end of his life, believing his only relationship is with the TV. Through Raz’s character and energy, we see how he gradually entices Ian out of his solitude.  Darren Kuppan delivers a gentle yet impactful performance guiding and teaching at Ian’s pace all the while delivering Raz’s dry humour with perfect timing. His energy is always well-placed, and his breakouts into song land beautifully, enhanced by the fantastic lighting changes and mirror ball.

James Quinn delivers a moving performance, gentle and subtle, portraying a man eager to face the challenges that will help him steer his life back on course, He is clearly unhappy with the circumstances he’s found himself in, and James Quinn conveys this in a way that we can sense Ian’s quiet yearning to break free from his sad and lonely situation.  As Ian navigates these uncharted waters, he attempts to reconnect with his daughter, Lauren, played by Verity Henry (B Shorts, Wuthering Heights at Hurricane Speed, A Great War). Verity Henry’s performance is vibrant and engaging, capturing Lauren’s desire to reconnect with her father despite their clearly fractured and strained relationship while also hinting that she is facing her own personal struggles. She also subtly conveys her connection to her mother through her need to be tidy — plumping cushions, clearing chairs and glasses. It is apparent Lauren and Ian have drifted apart, yet both genuinely want to make it work, even as they struggle against the barriers of communication.

Miriam Nabarro’s set was cleverly designed so that it changed throughout the play according to the mood, the “beige”, starting set that felt somewhat static was replaced after the interval with a more dynamic set, a bar in the club including a striking Cocktails and Dreams neon light and glimpses of a pink, sparkly dressing room. This instantly brought a fresh energy and atmosphere to the second half of the show signalling the next stage of Ian’s adventure has begun and of course as Ian blossoms so does the set and lighting, ready for the final scene!  The drag costumes are sparkly and bold, as you would expect, yet they are also subtle, elegant and classy, perfectly mirroring the tone and pacing of the play. Ian’s outfit not only dazzles visually but enhances the storytelling, highlighting his personality and the heartfelt spirit of the show.  Music plays a big part in this show, with each choice carefully selected to reflect the characters’ moods. We are treated to songs from different eras to suit all musical tastes, and each piece contributes perfectly to the atmosphere, from joyous and uplifting moments to more tender, reflective ones.

Going Out Out highlights the need for friendship, love, and connection. It celebrates and explores queerness and shows, in a humorous and moving way, that loneliness can be overcome. It does lack pace at times, and opposingly  gallops through character development at others, so it seems one moment Ian has been unable to leave his house in years, and in the blink of an eye he is suddenly getting the tram to a club in town all by himself, which placed a few stumbling blocks in the believability.  However, the play is a truly lovely watch, and emphasizes that the labels we carry do not define us, that we can rediscover different parts of ourselves and gently rekindle our creativity.  It is a show about family and connection with universal themes and leaves you pondering and reflecting on the possibilities of your own future. If you notice your comfort zone slowly shrinking and your confidence waning, Going Out Out at HOME Manchester may just give you the spark and courage you need to start turning “I can’t” into “I can.”

WE SCORE GOING OUT OUT...

WATCH OUR "IN CONVERSATION WITH JAMES QUINN" VIDEO

Going Out Out is on at Home Manchester until Saturday 1st November 2025

BOOK YOUR TICKETS HERE

WONDER BOY IS FULL OF HEART AND HUMOUR BUT MORE IMPORTANTLY, AN INTELLIGENT EXPLORATION OF ALL TYPES OF COMMUNICATION

As I headed to Lowry this evening to see Wonder Boy I had high expectations.  Written by Ross Willis (Wolfie), directed by Olivier Award winning Sally Cookson (A Monster Calls, Peter Pan), and the winner of The Writers Guild Award 2023 for best play is enough to get anyone intrigued, this coupled with the delicate subject matter meant I was eager to experience first-hand the powerful performances I had heard about and I wasn’t disappointed. 

Wonder Boy delivers a powerful message to everyone about the significance of communication, the role communication plays in our lives and how, when communication is hindered, it can lead to frustration, isolation and loneliness.  The use of movement, facial expressions, sound, lighting and extremely clever captioning encompasses inclusivity in a unique way, and we are treated to a journey which is heartwarming. poignant and hilarious.

Ross Willis’ brilliant writing transports us to an inner-city school where f-bomb expletives are a plenty from both the students and the teachers.  Hilson Agbangbe makes his confident professional debut playing Sonny, a twelve year old boy navigating the innumerous challenges faced by young people growing up.  However, Sonny has an additional challenge, he has a stammer and Wonder Boy is a heart-felt exploration of the challenges he is facing.  

We are taken on a journey through a snapshot of Sonny’s life, he has been cast in his school production of Hamlet and to be a success he is going to have to overcome his stammer and learn to speak more fluently.  We experience Sonny’s difficulties in communicating and forming connections with the various individuals around him, both the figures of authority and his peers.  We are invited to share in how he navigates these interpersonal relationships.

Sonny has a childhood superhero imaginary friend whom he created through his hand drawn comic books which are very precious to him.  Captain Chatter, played by Ciaran O’Breen (Lord of the Flies, Can Bears Ski), appears to have been a lifeline for Sonny historically, but as Sonny tries to battle his stammer and make a success of his role in Hamlet, it is possible that Captain Chatter is now holding him back.

From the onset the strong connection between Sonny and Captain Chatter is immediately apparent.  Their synchronised, elegant gesture and movement emphasises their strong bond which goes further than words.  This is relevant and poignant since despite Captain Chatter suggesting a particularly talkative character, he is silent throughout. 

Sonny’s communication difficulties become obvious to us when he is asked to say his name and clearly struggles, stopping on the letter ‘S’ and not getting much further.  Hilson Agbangbe’s powerful performance succeeds in immediately making us empathise with Sonny’s battle, creating an instant connection with the audience.  We feel his frustration even more so when at one point huge letters are literally piled on top of him, he is drowning in his inability to communicate.

Sonny’s new friend and aide, Roshi, played by Naia Elliott-Spence in her professional debut, makes an assured entrance. Roshi is witty, energetic, has a fabulous sense of humour and a wonderful ability to communicate. She can use words fluently, cleverly employing wordplay in stark contrast to Sonny’s lack of communication skills.  Naia Elliott-Spence’s vibrant and engaging performance captures our attention, I just can’t take my eyes off her and Roshi’s positivity is just what Sonny needs as it starts to become clear that Sonny is relying on Captain Chatter as a shield to protect himself from potential failure and from the risks of putting himself out there.

Sonny is also helped along his journey by his supportive teacher, Wainwright played by Eva Scott (Betty!: A sort of Musical, I Wanna Be Yours). Wainwright understands Sonny’s struggles more than he realises and she finds a way to communicate with Sonny, helping him to ‘sliiiiiiide’ his words.  Eva Scott skilfully explores the teacher pupil relationship. She wonderfully conveys Wainwright’s passion for connecting with and helping the kids but also her disenchantment at the limitations and bureaucracy of the school system. 

Wainwright’s passion for teaching is in clear contrast to Miss Fish, the new headteacher, played by Jessica Murrain (As You Like It, King Lear, The Sandman), who is caught up in league tables and tick boxes.  There is a theme of comic book heroes and villains throughout and it appears Miss Fish is a villain.  I feel the cat loving Miss Fish is a somewhat harsh and perhaps at times, unfair representation of senior leadership within the school system but she does represent the extreme and her exaggerated mannerisms are at times very funny which is due to the fabulous timing of Jessica Murrain and her unwavering energy. 

Jessica Murrain also plays the role of Sonny’s Mum, the tenderness she gives the character makes her relationship with Sonny particularly heartbreaking and powerful, highlighting that this is also a story of loss and grief.

Ciaran O’Breen along with movement director Laila Diallo (Oliver Twist, ABBA Voyage) wonderfully convey Captain Chatter’s feelings through beautiful and captivating movement which is also aided by quick, smart captioning by Caption and Video Designer Tom Newell.  The bright dynamic captions play a crucial role in the storytelling and go far beyond serving as subtitles.  Katie Sykes’ set, cleverly transports us to a variety of locations and with the help of Aideen Malone’s lighting also incorporates the crucial screen surrounded by a neon light, looking like a comic book frame.  It is this screen which comes to life throughout the performance with interesting, dynamic, colourful text and pictures with the added bonus of a comic book ‘kapow’ here and there.  The characters interact with the captions and pictures and the timing of these innumerable cues was excellent.

Wonder Boy is a fast-paced story, at 100 minutes with no interval it has a powerful impact.  It is full of heart and humour where you find yourself laughing one minute and crying the next but more importantly it is an intelligent exploration of all types of communication.  As I left the theatre and had time to ponder, I was left contemplating the communication skills I take for granted each day.

WE SCORE WONDER BOY...

HERE YOU COME AGAIN IS A JOYFUL CELEBRATION OF DOLLY PARTON'S MUSIC- A REAL TREAT FOR ALL TO ENJOY!

As a huge lover of country music I was thrilled to grab my cowboy boots and head to The Lowry to watch Dolly Parton’s biggest hits come to life in the new musical Here You Come Again. Dolly Parton's infectious spirit and uplifting presence first captivated me in the 1980s film "9 to 5", I then went on to discover her music and like so many people, a piece of her heart found its way into mine.  I was extremely excited to see how this country legend’s songs and her presence would be presented on the stage. 

The atmosphere in the theatre was buzzing, devoted fans and curious newcomers settled in to be entertained by the heartfelt storytelling music Dolly Parton is so well known for. We spotted a few cowboy hats and boots ready to start some country toe tappin’ to Dolly Parton’s greatest hits including Jolene, Islands in the Stream, 9 to 5 and I will Always Love You.

We are immediately transported to 2020, toilet rolls included, it is lockdown and aspiring comedian Kevin Rutter literally climbs into his attic bedroom in his parent’s home.  The audience is already laughing, the tone seems to be set, since the whole audience can relate to lockdown we are all chuckling at the lockdown references and we are immediately connecting with Kevin. 

Kevin, played by Steven Webb (Oliver!, Book of Mormon) is clearly a huge Dolly Parton fan, the attic room is littered with Dolly posters and memorabilia but Kevin is depressed, his self-confidence at a low, the effects of lockdown have truly hit and although he is doing his best to put on a brave face, he is lacking focus and is in desperate need of some cheering up and direction.  At a crisis moment the warmth, charisma and wisdom of Dolly Parton is required, he puts on a Dolly Parton record, well known for her desire to help people, this is surely just what Kevin needs. ‘What would Dolly do?’

Dolly Parton played by Tricia Paoluccio (Fiddler on the Roof, The Green Bird) magically appears on stage. The contrast between Dolly’s uplifting glamour and Kevin’s current sad situation is evident as Dolly arrives on stage with her radiant smile and glittering attire to help guide Kevin with her lyrics to a brighter future.

From the onset the audience become a part of the action, we are whisked away into the attic with Kevin and Dolly and welcomed to share in the magic.  The set is skilfully designed to feel and look like an attic, with clever lighting, in one moment it feels warm and cosy, then lighting changes and the space becomes a stage for Kevin to perform and then with twinkly lights and sparkles we’re transported into an attic where magic happens and dreams come true.  The props on set skilfully combine the past and present, along with the plentiful Dolly Parton memorabilia there are remnants of his childhood and teenage years.

Tricia Paoluccio was mesmerising, from the moment she appeared on stage she embodied Dolly Parton remarkably with both her unmistakeable sound and personality and commanded the attention of everyone in the room. Her vocal range, wit and humour captivated the audience, and she oozed positivity and hope. 

Steven Webb was superb, his vocals outstanding and he lights up the stage with energy and personality, his engagement with the audience was exceptional, we know Kevin is feeling down on his luck however, we feel his energy and his desire to be optimistic, to catch a break for a better future.  Steven Webb’s remarkable ability to deliver comic timing impeccably makes Kevin an extremely likeable character that the audience can easily connect with.

Joining Dolly and Kevin on stage were an amazing band who provide music and backing vocals along with voices for Kevin’s parents and other additional characters.  The musicians cleverly interact with the space in the attic and their presence adds a visual element that enhanced the engagement of the audience.

We are treated to a journey through the decades with Dolly’s costumes.  The outfits and wigs show how her styling has changed throughout her career, what is evident though in each costume is plenty of sparkle and shine to dazzle us all.

Writers Bruce Vilanch with Gabriel Barre (who also directs) and writer and actor Tricia Paoluccio, along with acclaimed British playwright Jonathan Harvey’s (Gimme, Gimme, Gimme and Coronation Street) adaptation have created fabulous theatre taking us on Kevin’s heartwarming journey.  Jonathan Harvey has skilfully and successfully combined British humour, Dolly Parton’s storytelling and wit, and contemporary relevance.

When I heard that Here You Come Again was set during COVID lockdown, I had my reservations, worried that this topic is now tired, it’s in the past which is where we want it to stay so we can move on from all the difficulties that ensued.  However, what this musical does is remind us that those difficulties are always relevant and that sometimes we need sparkle, shine, a little help and a whole lot of hope to help us through. 

Country music is fast gathering popularity in the UK and as a fan myself, I can easily see why. It’s not only the catchy riffs and rhythms but the use of storytelling to create song and the personal accounts of love, loss and life experiences which resonate with us.  Perhaps we can all play our country music favourite, immerse ourselves and be guided through difficult times.

Here You Come Again shows how the enduring charm and universal appeal of Dolly Parton's music continues to inspire and entertain audiences across generations but also highlights how Dolly Parton's impact extends far beyond her music and performances and how she has touched countless lives. Here you Come Again certainly touched this audience as the theatre erupted in cheers and whoops with a standing ovation.

Here You Come Again is a joyful celebration of Dolly Parton’s music and heartfelt lyrics, it is a message of hope but is also a whole lot of laughs and fun and will not only have you toe tappin’ but it will leave you feeling like you can achieve anything you set your mind to.

WE SCORE HERE YOU COME AGAIN...

Here You Come Again is on at Lowry, Salford until Sat 2nd November 2024.

HERE YOU COME AGAIN IS A JOYFUL CELEBRATION OF DOLLY PARTON'S MUSIC - A REAL TREAT FOR ALL TO ENJOY!

As a huge lover of country music I was thrilled to grab my cowboy boots and head to The Lowry to watch Dolly Parton’s biggest hits come to life in the new musical Here You Come Again. Dolly Parton's infectious spirit and uplifting presence first captivated me in the 1980s film "9 to 5", I then went on to discover her music and like so many people, a piece of her heart found its way into mine.  I was extremely excited to see how this country legend’s songs and her presence would be presented on the stage. 

The atmosphere in the theatre was buzzing, devoted fans and curious newcomers settled in to be entertained by the heartfelt storytelling music Dolly Parton is so well known for. We spotted a few cowboy hats and boots ready to start some country toe tappin’ to Dolly Parton’s greatest hits including Jolene, Islands in the Stream, 9 to 5 and I will Always Love You.

We are immediately transported to 2020, toilet rolls included, it is lockdown and aspiring comedian Kevin Rutter literally climbs into his attic bedroom in his parent’s home.  The audience is already laughing, the tone seems to be set, since the whole audience can relate to lockdown we are all chuckling at the lockdown references and we are immediately connecting with Kevin. 

Kevin, played by Steven Webb (Oliver!, Book of Mormon) is clearly a huge Dolly Parton fan, the attic room is littered with Dolly posters and memorabilia but Kevin is depressed, his self-confidence at a low, the effects of lockdown have truly hit and although he is doing his best to put on a brave face, he is lacking focus and is in desperate need of some cheering up and direction.  At a crisis moment the warmth, charisma and wisdom of Dolly Parton is required, he puts on a Dolly Parton record, well known for her desire to help people, this is surely just what Kevin needs. ‘What would Dolly do?’

Dolly Parton played by Tricia Paoluccio (Fiddler on the Roof, The Green Bird) magically appears on stage. The contrast between Dolly’s uplifting glamour and Kevin’s current sad situation is evident as Dolly arrives on stage with her radiant smile and glittering attire to help guide Kevin with her lyrics to a brighter future.

From the onset the audience become a part of the action, we are whisked away into the attic with Kevin and Dolly and welcomed to share in the magic.  The set is skilfully designed to feel and look like an attic, with clever lighting, in one moment it feels warm and cosy, then lighting changes and the space becomes a stage for Kevin to perform and then with twinkly lights and sparkles we’re transported into an attic where magic happens and dreams come true.  The props on set skilfully combine the past and present, along with the plentiful Dolly Parton memorabilia there are remnants of his childhood and teenage years.

Tricia Paoluccio was mesmerising, from the moment she appeared on stage she embodied Dolly Parton remarkably with both her unmistakeable sound and personality and commanded the attention of everyone in the room. Her vocal range, wit and humour captivated the audience, and she oozed positivity and hope. 

Steven Webb was superb, his vocals outstanding and he lights up the stage with energy and personality, his engagement with the audience was exceptional, we know Kevin is feeling down on his luck however, we feel his energy and his desire to be optimistic, to catch a break for a better future.  Steven Webb’s remarkable ability to deliver comic timing impeccably makes Kevin an extremely likeable character that the audience can easily connect with.

Joining Dolly and Kevin on stage were an amazing band who provide music and backing vocals along with voices for Kevin’s parents and other additional characters.  The musicians cleverly interact with the space in the attic and their presence adds a visual element that enhanced the engagement of the audience.

We are treated to a journey through the decades with Dolly’s costumes.  The outfits and wigs show how her styling has changed throughout her career, what is evident though in each costume is plenty of sparkle and shine to dazzle us all.

Writers Bruce Vilanch with Gabriel Barre (who also directs) and writer and actor Tricia Paoluccio, along with acclaimed British playwright Jonathan Harvey’s (Gimme, Gimme, Gimme and Coronation Street) adaptation have created fabulous theatre taking us on Kevin’s heartwarming journey.  Jonathan Harvey has skilfully and successfully combined British humour, Dolly Parton’s storytelling and wit, and contemporary relevance.

When I heard that Here You Come Again was set during COVID lockdown, I had my reservations, worried that this topic is now tired, it’s in the past which is where we want it to stay so we can move on from all the difficulties that ensued.  However, what this musical does is remind us that those difficulties are always relevant and that sometimes we need sparkle, shine, a little help and a whole lot of hope to help us through. 

Country music is fast gathering popularity in the UK and as a fan myself, I can easily see why. It’s not only the catchy riffs and rhythms but the use of storytelling to create song and the personal accounts of love, loss and life experiences which resonate with us.  Perhaps we can all play our country music favourite, immerse ourselves and be guided through difficult times.

Here You Come Again shows how the enduring charm and universal appeal of Dolly Parton's music continues to inspire and entertain audiences across generations but also highlights how Dolly Parton's impact extends far beyond her music and performances and how she has touched countless lives. Here you Come Again certainly touched this audience as the theatre erupted in cheers and whoops with a standing ovation.

Here You Come Again is a joyful celebration of Dolly Parton’s music and heartfelt lyrics, it is a message of hope but is also a whole lot of laughs and fun and will not only have you toe tappin’ but it will leave you feeling like you can achieve anything you set your mind to.

WE SCORE HERE YOU COME AGAIN...