★★★★

“unapologetically itself and dares us to follow suit”

‘Here & Now, the Steps Musical’, is a glittering, high-energy homage to Steps and love in its many fabulous forms. Campy, clever, and hilariously self-aware, it’s post-Brexit Britain’s answer to Mamma Mia! The plot might feel a little ‘Better Best Forgotten’ at times but underneath lies a heartfelt celebration of self-love and acceptance that everyone can ‘Stomp’ to.

This summer, four friends – Caz, Vel, Neeta, and Robbie – decide there’s more to life than working at ‘Better Best Bargains’. Swearing on the ‘pineapple of destiny’, they vow to find love before Caz turns 50. Things get messy quickly and betrayal threatens to turn their ‘One for Sorrow’ into four. Luckily the ‘pineapple of destiny’ – and a little heart – saves the day, reminding them that true love comes from within.

Shaun Kitchener’s book refuses to take itself too seriously, flashing decidedly self-deprecating wit. Set in a gloriously unglamorous supermarket, it mixes heartfelt moments with hilariously absurd scenes – such as lovers flirting over a giant bin. It’s grounded (everyone sacks off work to drink in a park) and fantastical (shoppers tear around the happiest supermarket in the world) and you just want to lean in. However, this jukebox musical’s plot is predictably thin. Act 1 ping-pongs glancingly around some heavy themes. Act 2 has more emotional weight but the characters remain under-developed, especially our lead Caz who bafflingly reconnects with a man who lies about wanting children (!). With a little polish, the story could truly sing.

That said, Rachel Kavanaugh’s direction understands the assignment, appealing to Steps fans and the LGBTQIA+ community while offering something for everyone. Expertly timed scene cut-offs lean into the unserious tone, colour palettes evoke different pride flags, and the frozen (aisle) inspired drag extravaganza is a showstopper. The large ensemble feels busy at points but adds much-needed vitality to the huge stage.

Matt Spencer-Smith’s musical supervision and arrangements and Musical Director Georgia Rawlins’ interpretation blend Steps’ huge pop hits almost seamlessly into this new setting. Though almost every plot point is embellished with a song, which isn’t necessary. Also, closing with ‘Here and Now’ is an interesting choice – it’s one of Steps’ more emotionally mature hits, but is ultimately less well known and less energetic. The final megamix is a great save, but the story deserves a stronger conclusion.

Matt Cole’s choreography strikes a refreshing balance between referencing Steps’ iconic moves and offering something new. The ensemble nails the complex group dances, though the more static principal routines sometimes draw the eye.

Set design (Tom Rogers) centres around a large supermarket façade, with moveable pieces and clever lighting transporting us elsewhere when necessary. I love the constant rearranging of checkout aisles and trolleys, keeping the layout fresh. The lighting design (Howard Hudson) is dynamic, bold and slick. An assortment of bright rainbow colours snap to supermarket fluorescent white, before easing into deeper moments. Costume design (Gabriella Slade) brings the supermarket uniform to life by mixing up the colours and patterns according to the mood. Denim and iron on patches evoke the late 1990s and the drag moment is a stroke of genius. Wigs and hair (Sam Cox) and make up design (Jackie Saundercock) add pops of colour while carefully representing each character.

The cast brings so much passion and heart. Rebecca Lock’s Caz blows us away with her powerhouse vocals and remains endearing despite the relatively thin material. Blake Patrick Anderson’s Robbie and Ben Darcy’s Ben command the stage in their smaller but no less arresting roles, showcasing effortless tenor voices to boot. River Medway gives a stunning performance as Jem, deservedly stopping the show. Rosie Singha gives her shy girl next door, Neeta, some welcome vocal power. Albert Green cuts through the chorus with some fantastically sharp dancing.

‘Here & Now, the Steps Musical’ is unapologetically itself and dares us to follow suit. Though the plot and characters are a little flimsy, the knockout performances, irreverent self-awareness, laugh-out-loud moments and driving score will have you dancing in the (supermarket) aisles!

EVITA

The London Palladium

★★★★

“an enjoyably bold twist on a classic”

In a theatre landscape overrun by the contemporary glitz of Six, & Juliet and yet another adaptation of an early 2000s chick-flick – it’s a big ask to dazzle audiences with a seventies relic telling the tale of an Argentine political powerhouse, but Jamie Lloyd’s new production of Evita certainly gives it a good go.

From the off it almost feels as if you could be sitting in NYC watching the recent Sunset Boulevard: this is classic Lloyd. We’re talking sparse stage, bleak colours and characters refusing to look each other in the eye. But despite the harsh initial impression it leaves, this production of Tim Rice and Andrew Lloyd Webber’s classic musical packs a mighty punch and certainly pushes the boat out for what we’ve come to love and expect of the usually colourful, safe Lloyd Webber shows.

Just in case you’ve managed to dodge the plot for the past fifty years, Evita follows the story of Eva Peron, an Argentine political leader and second wife to former president Juan Peron. We follow Eva from her days of ambitious youth in the slums of Argentina to her remarkable ascension to power and fame, and finally through to her untimely demise. Rachel Zegler takes on the role of Eva with fierce, soaring vocals that bring a desperately needed new lease of life to this score. The American actress exudes seemingly endless energy as she struts, gyrates and bops her way around the stage (choreography by Fabian Aloise). Indeed, Zegler barely has a moment to catch her breath (as emphasised by Diego Andres Rodriguez, who plays Che, sneaking her water bottle onstage mid dance break) and is present for Eva’s entire journey. Despite her youth, Zegler plays the two decades span of Eva’s life with clarity and grace; often reminding us that Eva herself was only thirty-three years old when she passed away from cervical cancer. However, one can’t help but wish Zegler would step outside of her box a little more and really take the bull by the horns: a little less prettiness and a little more grit would been welcome.

Throughout Lloyd’s updated production one can really tell they are watching a show made for 2025. Some of the modernisms work beautifully (groovy drum solos during Dangerous Jade and the ensemble twerking to Eva, Beware of the City; I’m looking at you) and some of them really miss the mark: the Camp Rock style E-V-I-T-A chant implanted into Rainbow High implants the audience in entirely the wrong atmosphere.

A much-anticipated stand out moment of the show was of course Zegler’s Don’t Cry For Me Argentina delivered live from an outside balcony thanks to the help of some handy camerawork. For those of us inside the theatre, it really felt as if Eva was becoming untouchable as she rose power; no longer a tangible entity for us to hold. Either that or she was out with her Descamisados in the street and we, the elite, were not privy to her love stuck inside our bejewelled theatre boxes. Either way the FOMO was real.

The plight of the Descamisados (‘without shirts’ in Spanish which is quite literal for Rodriguez in this production) has never been more clearly shown than with the brutal visuals of Che; bloodied, battered and cowering on the floor, cruelly doused in paint in the colours of the country he adores. Rodriguez brings a charismatic charm to the role which matches the sass of Zegler perfectly. Indeed, the pair have beautiful chemistry, playfully flirting their way through the score in an effort to make Eva’s rise and Che’s fall all the more heartbreaking and impactful.

The design elements of the show (Soutra Gilmour set and costume, Jon Clark lighting and Adam Fisher sound) take a while to get going. One feels, much like Eva’s own story, that the show peaks in the middle, with the bookends being a little sluggish and dull. While Zegler prances around mostly in a bralette and shorts (not what you typically expect of Eva Peron), the ensemble costumes seem to grow to match the acquisition of Eva’s wealth. There’s a nice touch towards the end of act one as the ensemble emerge dressed identically to the two Perons: a people united in reflecting their leaders.

The real standout song of the show is The Art of the Possible. Traditionally a moment devoted to the hyper-masculine, military ensemble, Llyod has reimagined this moment as a beautiful reminder of the power Eva held. While still sung by men, the song is led by a female ensemble member who, whilst dressed to the nines in a pseudo military get up, exudes power and sultriness as she guides each female assassin standing behind the soldiers in their executions. Deaths that come in the package of a popped balloon (or not popped in the case of one poor ensemble member) and Argentinian blue confetti.

We are happily appeased by the traditional image we crave of Eva Person – the jewels, the gown, the blonde hair – though Zegler’s stark stripping of these elements as we watch through the camera lens is yet another reminder that this is a show that’s fighting back against our desires. Still, the act one finale gives us the grandiose we yearn for: more confetti canons than you’ve seen in your life and elated ensemble vocals drowning out a bloodied, broken Che. In fact, the ensemble excel throughout and seamlessly fill the stage with their flowing, coordinated movements, though one does feel these start to get samey pretty quickly. The ending, much like the beginning, is stark, modern, and just a little uninteresting given the heights we’ve seen this show reach before. Despite a few teething problems (a very noisy backdrop that insisted on being lowered during quiet songs and the ensemble’s lack of ability to coordinate their consonant placement) this production holds real power and is a clear reminder of the harsh, cruel reality of Evita’s story.

While the highlighted elements of elected power versus the power of the people are certainly relevant to today’s bleak political landscape, the show lacks the overall gritty punch of a call to arms. But whether this is the most needed piece of theatre right now or not, it’s certainly an entertaining night out and an enjoyably bold twist on a classic.

HERE AND NOW

Manchester Opera House

★★★★

“unapologetically itself and dares us to follow suit”

HERE AND NOW

Manchester Opera House then UK Tour continues

Reviewed on 4th September 2025

by Hannah Bothelton

Photography by Pamela Raith

Recently reviewed by Hannah:

HERE AND NOW

HERE AND NOW

HERE AND NOW

EVITA

The London Palladium

★★★★

“an enjoyably bold twist on a classic”

EVITA

The London Palladium

Reviewed by Kathryn McQueen

Photography by Marc Brenner

Previously reviewed at this venue:

EVITA

EVITA

EVITA

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