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

★★★★

“Hill’s dialogue and Bartram’s lyrics are full of eccentric humour, observations and paradoxes”

“The Story of My Life” wears its influences unashamedly on its sleeve, but at the same time has some gorgeous little tricks up those same sleeves. The opening number, ‘Write What You Know’, has more than a nod towards Stephen Sondheim, yet as the song list unfolds, Neil Bartram’s own individuality as a composer shines through. The musical numbers are the perfect accompaniment to Brian Hill’s book, that is intelligently and wittily crafted into an emotional tribute to friendship. The musical’s spirit is lifted straight from Frank Capra’s ‘It’s a Wonderful Life’, and it soars just as high. Truly, it’s a wonderful show.

Alvin (Tim Edwards) and Thomas (Markus Sodergren) are childhood friends. They became best friends in first grade, bonding over their respective Halloween costumes – Thomas as the Angel Clarence from Capra’s film and Alvin as the ghost of his mum. An indeterminate number of years later, Thomas – now a bestselling author – is trying unsuccessfully to write the eulogy for Alvin’s funeral. The ghost of Alvin appears, more of a distraction than a helping hand, but between them they pull books from the shelves behind them, picking out stories from their past and moulding them into the songs that beautifully evoke their friendship, and the forces that drew them together, then apart, and eventually together again posthumously.

Alvin is a bubble of energy, fascinated by the infinite quirks of the universe while remaining trapped within his own small world. Edwards brilliantly captures Alvin’s sheer ingenuous joy of life, that beats like a fragile wing unable to withstand the winds of fear and insecurity that push him over the edge. His is a complicated mix of neediness and loyalty that Edwards makes irresistibly endearing. Sodergren’s Thomas is more calculated but no less complicated. Breaking bonds and breaking away, his success as a writer throws him into denial. Not just for his true feelings, but also the fact that his literary triumphs are, in fact, literally stolen from his friend’s imagination. Sodergren perceptively chips away at his hard mantle, eventually acknowledging the debt he owes. Whether it is too late or not doesn’t matter; he melts our hearts anyway.

In fact, they both do. We laugh and we cry with them. Hill’s dialogue and Bartram’s lyrics are full of eccentric humour, observations and paradoxes. Occasionally verging on platitude, they are pulled back by the performances. Each song is seamlessly crafted into the text, drawing us in with a smile or a tear as we are swept from the underscore into the waves of emotion of each melody. Sometimes the line between leitmotif and repetition is blurred, but there are some stand out moments. ‘This Is It’ echoes the multiple meanings of the title phrase; its harmonies bringing the couple together. A rich counterpoint to ‘Saying Goodbye’ – parts one to four seen through different eyes. ‘The Butterfly’ is another stand-alone moment, quiet but strong and magnificently delivered. ‘1876’ adopts a lilting folksiness that conjures a young Tom Waits. Minus the gravelly voice, of course. Both Edwards and Sodergren have the vocal purity that can carry the emotive weight of the songs. Musical Director, Aaron Clingham, skilfully and sensitively guides them through the repertoire. They are often tricky numbers, but Clingham’s effortless piano – accompanied by Pippa Mason on cello and Becky Hughes on Clarinet and oboe – lift them into a floating and haunting score.

Designer David Shields’ setting is stark, simple and spot on. White books stacked on white bookcases feed the narrative as the actors plunder the shelves for their backstories. Robert McWhir’s intuitive direction allows the action to wander through the audience, drawing us further in still. Eventually we don’t mind that the ending is unresolved. We never get the full answers to the questions that this musical poses, yet we are filled with a sense of peace. It is quite a unique experience to be moved by something that isn’t being shouted from the rooftops.

Alvin talks about the ‘Butterfly Effect’ – the idea that the world is deeply interconnected, and that a small butterfly flapping its wings could, hypothetically, cause a typhoon somewhere else in the world. “The Story of My Life” is seemingly small-scale, yet it has a huge effect. And an even bigger heart. A real gem that needs no Guardian Angel to ensure its success.

Tag Archives: Markus Sodergren

HERE AND NOW

★★★★

UK Tour

HERE AND NOW

Manchester Opera House

★★★★

“unapologetically itself and dares us to follow suit”

HERE AND NOW