★★★½

“As soulfully tender as it is wickedly funny”

Witchiness is being reclaimed, not least by Bryony Kimmings’ ‘Bog Witch’. Kimmings’ first solo show in over five years is a hilarious yet heartfelt meditation on the cost of uprooting your life to save the planet. But for a show promising reconnection, it feels a little untethered – a rich seed that’s yet to fully bloom.

Bryony is starting a new life in the country. Forget ponies and polo: this is a permaculture patch in the middle of nowhere which her whole family loves except her. Severed from the comforts of capitalist suburbia, she’s forced to confront isolation, disconnection and rising eco-anxiety alone. In her quest to save the planet, how much of herself will she lose?

Written, directed and performed by Bryony Kimmings, ‘Bog Witch’ is a raw one-woman wrestle with the weight of saving the world. From isolation and climate anxiety to animal death and even pregnancy loss, Kimmings delves into a vivid spectrum of human experience with fearless honesty. As soulfully tender as it is wickedly funny, it’s woven with a vulnerability that beckons you into its mossy heart. Yet, it feels uneven. A playful, punchy first half gives way to an emotional but meandering second: a Wizard of Oz-esque crisis feels drawn out, and a plodding epilogue dulls the final flourish. Furthermore, the dramatic threads of soul holes and friendships fail to resolve, fizzling out with a lacklustre hug. There’s undeniable magic here, but the spell feels unfinished.

Kimmings’ direction and Francesca Murray-Fuentes’ co-direction is bold and inventive, constructing and then dismantling the set with symbolic flair. The striking and sometimes comical use of projections cleverly unites the sprawling stage elements. The disembodied voiceover adds a wry layer of self-commentary (poor Bryony). Kimmings’ storytelling is compelling, propelling the first half with energy and momentum. However, the second half loses its rhythm, especially the epilogue’s use of oversized spell book which weighs things down just when they should be building.

Kimmings commands the stage in this one-woman whirlwind of physical theatre, music, and song, a performance brimming with wit, courage, and emotional depth. There’s a witchy magic to her vocals: raw and evocative, even if not technically flawless. Though the enchantment wavers at times as repeated line slips – however cleverly handled – chip away at the flow.

Tom Parkinson’s score is rich, varied and atmospherically spot-on, shifting seamlessly from jaunty pagan folk to pulsing synth-driven soundscapes. Each choice amplifies the emotional pulse of the moment and helps conjure this strange, elemental world with satisfying precision.

Guy Hoare’s lighting design is strikingly beautiful, with sweeping transitions between expansive grandeur and piercing solitude. One of the most arresting touches is the colour draining from a scene as reality (or anxiety) kicks in.

Lewis Gibson’s sound design is dynamic and well-integrated, punctuating the performance with sardonic voiceovers and conjuring storms of sonic intensity. It complements the visual and narrative elements with flair despite sometimes overwhelming Kimmings’ vocals. Finetuning the balance could further elevate these moments.

Tom Rogers’ set and costume design subtly evoke the bleakness of Kimmings’ world. Dead, limbless trees hem her in, and even the brightest summer dress is layered over a stark black uniform. Joy is always undercut by something darker, a finely tuned reflection of the show’s emotional core.

‘Bog Witch’ delivers a compelling and emotionally resonant evening – visually rich, evocatively sincere, and unmistakably Kimmings. Despite feeling unfinished, it has an undeniable magic.

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!

BOG WITCH

Soho Theatre Walthamstow

★★★½

“As soulfully tender as it is wickedly funny”

BOG WITCH

Soho Theatre Walthamstow

Reviewed on 14th October 2025

by Hannah Bothelton

Photography by Rosie Powell

Previously reviewed at Soho Theatre venues:

BOG WITCH

BOG WITCH

BOG WITCH

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

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