Considering my utter distain for the majority of Jukebox Musicals, Now That’s What I Call a Musical doesn’t just embrace the jukebox formula — it cranks it up to 11, douses it in glitter, and has the audience singing along to hits of the 80s. Directed and choreographed by Craig Revel Horwood, the show celebrates the 40th anniversary of the Now! compilations, complete with more camp than a drag queen’s dressing room. The result? A gloriously self-aware performance that, while far from perfect, is an absolute blast if you let yourself get swept up in its neon-coloured nostalgia.
Set at a school reunion in 2009, the story follows Gemma (Nina Wadia), a successful nurse hoping to reconnect with her old friend April (Melissa Jacques), who left for Hollywood fame and fortune after her 18th birthday. Told through a series of flashbacks to 1989, the plot — thin as it may be — serves primarily as a vehicle for cramming in as many 80s anthems as humanly possible. And honestly, that’s the point. Let’s face it, nobody is going to see a show called Now That’s What I Call a Musical for its intricate storytelling. The music is the star, and brilliantly, the production puts the music front and centre.
Sure, like all jukebox musicals, the story and songs don't align at all. You can practically hear the shoehorn creaking as one-liners from lyrics attempt to connect with the plot. The day a jukebox musical is written where all the songs make sense is surely the final sign of the apocalypse? But in a show this cheeky and self-aware, it doesn’t matter. It's part of the charm. In fact, Now That’s What I Call a Musical achieves what many jukebox musicals fail to: it leans so hard into its ridiculousness that you can’t help but have fun. It’s like the show knows it’s never going to make it as a main stay on the West End, and therefore doesn’t need to try too hard to impress you — it’s like the Prince Harry of musicals. It’s here to give you disco balls and spandex, and by God, it delivers. Written by Showstopper star Pippa Evens, there were moments of hilarity and great character’s, though the pitfall moments felt a little superficial, it sort of works as it is supposed to be an uplifting play.
The performances are the real standout. Maia Hawkins and Nikita Johal, playing younger versions of April and Gemma, absolutely steal the show. Their energy, stage presence, and killer vocals breathe life into what could have easily been a flat, nostalgia-heavy piece. Hawkins, in particular, dazzles in what is her professional debut, owning the stage with confidence that outshines her more experienced co-stars. Johal was the perfect balance of camp fun and believable character to make the audience really warm to her. And let's not forget the brief yet iconic cameo by Sinitta, who struts onstage for five minutes to belt out "So Macho" like some kind of hallucinogenic-induced vision of Teen Angel in Grease. Completely unnecessary? Yes. But was it absolutely fabulous darling? Also yes. Is the inclusion of a Z-list celebrity helping to bolster ticket sales? That’s a triple YES!
The real magic, though, lies in the choreography and set design. Horwood’s direction is meticulous, ensuring that each musical number feels like a standalone music video — complete with elaborate lighting, perfectly coordinated dance moves, and just the right amount of over-the-top flair. It’s as though the show’s mantra is “Everything in excess.” The stage transforms from school reunions to weddings to hen nights, all in perfect harmony with the chaotic energy of the show. It’s excessive, it’s flamboyant, and it works.
Other special mentions go to Christopher Glover (Dad), Phil Sealey (Steve), Chris Grahamson (Tim), and Callum Tempest (Barney), who’s characterisations were brilliantly funny. In fact, the whole show had moments of comedy gold, but more than anything it was brimming with nostalgia. It is clear to me that the creative team wanted everyone in the audience to relive the best parts of the 80s, from referencing the memorable adverts, to the extreme choice of costumes, there was never a moment on the stage that had not been meticulously planned.
Ultimately, this show is for those who want to relive the best of the 80s without much fuss about plot. Your world view won’t be challenged, you won’t learn anything life changing, your social identity will not be attacked, and you won’t leave in floods of tears having been engaged in an emotional earthquake — You will simply enjoy something visually and sonically pleasing, and somehow THAT has become a niche novelty.
If you’re in the mood for a high-energy, feel-good night of 80s hits, glitter, and guilty pleasure performances, Now That’s What I Call a Musical is worth a spin. Just don’t expect life-changing revelations — this show is here to remind you that sometimes, having fun is more than enough.
Now That’s What I Call a Musical is on tour until April 12, 2025, featuring rotating guest stars including Sinitta, Sonia, Carol Decker, and Jay Osmond. If you’re ready to dance your way through the 80s all over again, grab your tickets now!
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