If you’ve ever felt the urge to swear on a pineapple in a brightly lit supermarket while belting out “5, 6, 7, 8”, Here & Now is the musical for you. This camp and light-hearted show is exactly what you’d expect from a show built around the hit songs of 90s cheesy pop icons Steps: a spectacle that’s glittery, colourful, and undeniably nostalgic. But while it delivers joy and belting vocals, was the show a complete Tragedy?
The story unfolds in the vibrantly chaotic world of Better Best Bargains, a fictional egastore that serves as the stage’s kaleidoscopic backdrop. The production spares no penny in creating a supermarket so immersive that I’m shocked I didn’t have to scan my ticket in with a self-serve til! With its giant fly-in storefront, promotional video screens, and movable tills — not to mention the countless trollies, baskets, and neon-lit isles — the visual design is undeniable impressive. The set was not only elaborate, but everything was brightly coloured and lit so it felt like the staging of a Steps concert!
The show begins on a Friday night as four coworkers are filled with joy, dancing down the aisles of Better Best Bargains. Caz (Rebecca Lock) celebrates news of her adoption approval, inspiring her colleagues to seize life with renewed zest. Neeta (Hiba Elchikhe) tries to muster the courage to confess her feelings to Ben (Dan Partridge), Robbie (Blake Patrick Anderson) must give up his string of one night stands when he falls in love with Jem (River Medway), and Vel (Sharlene Hector) ponders freedom from her loveless relationship with trolly-boy Lesley (John Stacey). But like any story there are twists and turns down every aisle — unfortunately, in this open-plan supermarket, you can see most of them coming as you approach them.
With an audience mostly made up of 30 - 40 year old members of the LGBT community dressed in Steps tour t-shirts, I enjoy the fact the production was not blind to the demographics of the target audience. However I did take issue with the portrayal of gay love in this story. Robbie’s character, for instance, is riddled with tired LGBTQ+ stereotypes: a promiscuous sex life, an absent father, and an eventual romance with a drag queen. It’s representation, sure, but at times, it feels like ticking boxes on a gay bingo card. Similarly, Tracey, the open lesbian, is very masculine and works as a heavy lifting delivery driver — BINGO! Their characters did not need these stereotypes to be recognised, both Blake Patrick Anderson and Helen Colby portrayed very believable and lovable characters with genuine struggles in love without playing to the crowd! Perhaps some of these moments should indeed be ‘Better Best Forgotten’.
We’ll ignore the fact that, like most Jukebox Musicals, the songs offer no advancement of plot or character, because Musically, this production thrives. Rebecca Lock and Blake Patrick Anderson are standout performers, their powerhouse vocals bringing songs like “One for Sorrow” and “Last Thing On My Mind” to soaring heights. The choreography nods lovingly to Steps’ iconic routines — which delighted die-hard fans — without being direct copies. All that being said, the absolute shoe-horn of “5, 6, 7, 8” into being some sort of discount sales song was abysmal and stupid — and that’s my choice of words after six rewrites thinking I was being too harsh!
The comic trio of Tracey (Helen Colby), Patricia (Fifty Williams), and Lesley (John Stacey) undeniably brought laughter to the audience wit they antics. Their appearances on stage was warmly welcomed, as these moments reliably delivered the chuckles. However, the humour, though effective, was repetitive, with little variation in structure or timing, with many jokes being variations of those told 5 minutes earlier. A telling example was when a punchline was lost due to a muted microphone, yet half the audience still laughed out of reflex.
Rachel Kavanaugh’s direction deserves applause. She has orchestrated a visually and aurally pleasing production that is burned on our retinas as you pirouette out of the auditorium humming “Chain Reaction.” The vibrant lighting design, choreography, and dynamic staging were fabulous, though they often lean more towards pop concert than theatre production. Shaun Kitchener’s script offers moments of intrigue, with its unrealistic plot twists reminiscent of his soap opera pedigree. While the storyline boarders on outlandish, it’s a fitting match for the flamboyance of Steps’ musical repertoire.
For seasoned theatre-goers, this production feels more like a jarring blend of pop concert and pantomime which can be challenging to settle into. Despite pre-show warnings discouraging audiences to sing and dance, it quickly becomes apparent that the Steps superfine cannot be reigned in. I actually got kicked three separate times by the woman next to me as she was enthusiastically recreating the dance moves. The ushers may as well have handed out glow-sticks instead of programmes.
However, if you’re a casual theatre-goer with a deep love for Steps this show is undeniable your glitter-dusted paradise. Every song is performed with concert-level volume and dazzling lighting displays, ensuring the hits land with maximum impact. That said, one could argue that simply playing a steps playlist on Spotify might have satisfies most of the audiences itch. Still, the songs — bolstered by the cast’s fantastic vocals — ensure the night isn’t without its charms. The show culminates in a medley of the band’s greatest hits, showered in glitter, inviting audiences to record, dance, and revel in pure pop nostalgia.
Running at the Alexandra Theatre in Birmingham until November 30th before embarking on a UK tour, Hear & Now isn’t perfect. But it is an unmissable celebration of the music of Steps. Just bring your best moves — and maybe steel-toed shoes for any overzealous neighbours.
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