HERE AND NOW

Manchester Opera House

★★★★

“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!

HERE AND NOW

Manchester Opera House then UK Tour continues

Reviewed on 4th September 2025

by Hannah Bothelton

Photography by Pamela Raith

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HERE AND NOW

★★★★

“This is a blazing production, burning with wit and charm, song and dance, and with a feelgood finale that is far hotter than a British summer”

We are officially in summer in a couple of days’ time, although it might not necessarily feel like it. But a couple of bars into the overture of Cole Porter’s classic, “Kiss Me, Kate” and the clouds disappear. We are instantly put in a good mood, unable to resist the warmth and the joie de vivre this sizzling and silly musical has to offer. Porter is on top form, complemented brilliantly by Sam and Bella Spewack’s book which adopts Shakespeare’s ‘play-within-a-play’ trick, taking its subterfuge to new heights.

Both ‘Taming of the Shrew’ and ‘Kiss Me, Kate’ have gathered accusations of misogyny over time, but if you look deeper, the bard and the songsmith are, in fact, championing women’s rights. And Bartlett Sher’s revival brushes off any remaining crumbs of sexism that may linger with this revival. The sheer force of the two leading ladies’ performances, of course, helps immensely.

The show opens with a curtain call. One that is being rehearsed for the opening night of ‘The Taming of the Shrew’. Fred (Adrian Dunbar), the egotistical director and producer, is starring as Petruchio while his ex-wife, Lilli (Stephanie J. Block), plays Katherine. The two bicker constantly, like Burton and Taylor on a bad day, yet Dunbar and Block effortlessly reveal the deep-seated, hidden love and affection they still hold for each other. The only casualty here is the ‘will-they-won’t-they’ dynamic – we just know from the off that they’ll eventually reconcile, despite Lilli being betrothed to a strait-laced, regimental General Harrison Howell (a delightful cameo from the underused Peter Davison).

Meanwhile Lois (Georgina Onuorah) and her gambling, misbehaving boyfriend, Bill (Charlie Stemp), are enjoying their own backstage tussles. Not least because there’s a thing going on between Lois and Fred. The shenanigans don’t stay in the green room, however, but are dragged kicking and screaming onto the stage, playing havoc with Shakespeare’s storyline. Throw in a couple of gangsters chasing a gambling debt (Hammed Animashaun and Nigel Lindsay), and the farce is complete.

It is a star-studded production, with an equally starry ensemble. Everyone has a moment to glow in the spotlight, yet nobody outshines anyone else. Each swing, and chorus member, portrays a well-defined, unspoken personality too. Anthony Van Laast’s choreography is stunning, not just visually but also in its storytelling, reaching its climax in the Act Two opener, ‘Too Darn Hot’, which elicited an ovation that finally had to be cut short by the performers themselves, worried that they might miss the last train home.

Matching the dancing skills are the vocal skills. Georgina Onuorah and Stephanie J. Block mix power with fragility, wit with emotion. Onuorah’s show-stopping ‘Always True to You in My Fashion’ is another highlight, while Block’s ‘So in Love’ is steeped in gorgeous torment. Slightly out of his depth, Adrian Dunbar reprises the number. He can hold a tune, for sure, but his vocal shortcomings do stand out against the sheer wall of virtuosity he is surrounded by. Dunbar’s own virtuosity is confined to his character acting and comic timing which is, indeed, spot on. Hammed Animashaun and Nigel Lindsay, on the other hand, are a double act with a triple threat, showcased by their superbly comic performance, and brilliant rendition of ‘Brush Up Your Shakespeare’.

Catherine Zuber’s costumes perfectly mirror the various elements of the show, mixing the eroticism of the backstage, sultry and sexy glamour with the onstage Elizabethan grandeur. Michael Yeargan’s revolving set seamlessly guides us through the stage door onto the stage, via the dressing rooms and back again. This is a blazing production, burning with wit and charm, song and dance, and with a feelgood finale that is far hotter than a British summer. While it’s definitely not too darn hot outside, inside the Barbican, it’s sizzling.

Tag Archives: John Stacey

HERE AND NOW

★★★★

UK Tour

HERE AND NOW

Manchester Opera House

★★★★

“unapologetically itself and dares us to follow suit”

HERE AND NOW