Review: Here You Come Again at Comedy Theatre

Review by Liz Baldwin

Here You Come Again arrives in Melbourne promising a night of Dolly Parton magic—and for fans of the country music icon, it mostly delivers. Created by Bruce Vilanch, Gabriel Barre and star Tricia Paoluccio , this is less a traditional book musical than a lively homage to Dolly’s greatest hits, lightly stitched together with a story. If you go in expecting a rich narrative, you may be disappointed. If you want to hear Dolly’s biggest songs performed live by a strong band and a charismatic lead, you’re in the right place.

The plot is paper-thin. Kevin, a devoted Dolly fan played by Dash Kruck, is stuck in COVIDlockdown and at a personal low when Dolly herself materialises in his imagination to dispense life lessons. The stifling sense of entrapment of lockdowns is captured well, and goes some way to justifying the Dolly hallucination. 

But Kevin’s journey feels secondary—his real job is to tee up the next hit. His character’s complications and epiphanies feel rushed and forced. The story functions mainly as scaffolding to set up the songs, and while there are attempts at character beats, they rarely rise above the predictable.

What keeps the show afloat is the music and the performance of Tricia Paoluccio. Paoluccio captures Dolly’s voice and mannerisms with skill, and her energy carries the evening. She is at her best in the big numbers, from Jolene and 9 to 5 to I Will Always Love You. For Dolly fans, seeing these songs performed (and, in the case of some audience members, singing along) is the main drawcard. The backing vocalists, Kellie Rode, Bailey Dunnage, and Laura Joy Bunting, all clad in denim, ably support Paoluccio.

The on-stage band, led by Andrew Worboys, was excellent. Mostly positioned in view and with occasional roles on stage, they bring punch and polish to every arrangement. The musicianship here is tight and lively—Ash Murdica on guitar, Tina Harris on bass, and Luke Herbert on drums add to the warm atmosphere. 

Visually, the show is well-dressed. Paul Wills’ set is compact but interesting – rich in small details and visual gags that reward close attention. Dolly’s multiple costume changes – sequins, denim, and pink galore – will tick all the boxes for Dolly fans.

The script is sometimes wooden, with transitions between scenes feeling a little forced. But the Australian adaptation by Fiona Harris and Mike McLeish mostly works, with gags about Bendigo and the big smoke of Melbourne earning big laughs. 

This is comfort theatre: bright, familiar, and easy to digest. If you’re hoping for a show with narrative heft, you won’t find it here. But as a Dolly Parton celebration—with great songs, polished performances, and plenty of sparkle—it succeeds on its own terms. Just go in knowing what it is: a well-produced songbook showcase rather than a fully realised musical.

Image Credit: Cameron Grant