Here and Now
Here & Now is exactly what it promises to be: a glittering, unapologetically joyful celebration of pop nostalgia, wrapped in a story that doesn’t take itself too seriously but still manages to land some genuinely heartfelt moments along the way.
As a huge Steps fan from the 1990s and noughties, it is with a mix of excitement and trepidation that I head to the Curve Theatre. I needn’t have worried. From the outset, I absolutely love this show, and I cannot endorse it enough. No, it isn’t the most sophisticated piece of theatre you will ever see, but if you are looking for a pop-tastic night out where the auditorium is simply full of joy, then this is the show for you.
From the second the iconic count-in begins – “5, 6, 7, 8” – the audience erupts. Pink and blue lights wash over us, blurring the line between performer and spectator, as characters stand poised behind counters labelled 5,6,7,8 in aisles 5, 6, 7, 8. The attention to detail is immediate and relentless. This show could not pack in more Steps references if it tried – and it revels in that fact.
The tone is set quickly through dialogue that is refreshingly informal. It draws easy laughs, but more importantly, it makes the characters instantly relatable. You feel connected to them from the outset, which is vital in a show where the storyline itself is admittedly a little thin (the story follows a group of friends – and their disastrous love lives – as their jobs are under threat). But that’s not a criticism – it’s a choice. This isn’t about intricate plotting; it’s about the music. And what the show does brilliantly is surprise you with moments of depth where you least expect them.
“Heartbeat,” in particular, provides a moment of genuine stillness. It is a scene that lingers long after you leave the auditorium; it is poignant, emotional, and beautifully performed. I was not expecting to be moved in quite that way… nor was I expecting to be laughing hysterically ten minutes later. The show is a rollercoaster, but it never tips into taking itself too seriously.
Visually, it is an absolute feast. The stage is often so busy, with so much going on, that it is genuinely difficult to know where to look – but in the best possible way. Every corner is alive. The costumes (Gabriella Slade) are bright, varied, and perfectly aligned with the tone of each moment – joyful, playful, and completely committed to the world of the show.
The choreography (Matt Cole) deserves special mention. Reimagining such iconic dance routines could easily go wrong, but instead, it is handled with finesse, energy, and clear respect for the originals. There are enough nods to trigger recognition, but enough reinvention to keep it fresh. Every time the ensemble steps on stage, they light it up. Their energy is infectious, and their precision is exceptional.
The musical arrangements (Matt Spencer-Smith) are another highlight. While the melodies remain instantly recognisable, the arrangements themselves are cleverly varied. Some numbers lean fully into their pop roots, while others are reworked into something more theatrical. “After the Love Has Gone” feels almost like a traditional musical number, while others introduce richer harmonies or a more driving, rocky baseline. I am not ashamed to admit that this has become my soundtrack for the summer; I have no doubt that I will absolutely be listening to this alongside the originals.
Performance-wise, the cast are outstanding across the board. Laura Denning (Kaz) is nothing short of a powerhouse. Having last seen her as Anne Hathway in & Juliet, I know what she is capable of but she still manages to blow me away. Her renditions of “Heartbeat” and “One for Sorrow” are simply stunning.
Jacqueline Hughes (Vel) brings warmth and depth to her role, and pairs beautifully with Lauren Woolf (Tracy), whose one-liners repeatedly bring the house down. Rosie Singha (Nita) delivers a sweet, endearing performance, forming a genuinely lovely partnership with Ben Darcy (Ben). Their relationship feels authentic and engaging throughout.
Blake Patrick Anderson (Robbie), part of the original cast, shows no signs of fatigue; his performance is vibrant, energetic, and completely committed. River Medway (Gem), known from RuPaul’s Drag Race UK, absolutely steals the show during “Chain Reaction.” A drag performance in a freezer aisle, surrounded by dancing blocks of ice, is exactly as camp – and brilliant – as it sounds.
Sally Ann Matthews (Patricia) is a delight as a slightly jobsworth character with a hidden, saucy edge, whose mispronunciation of French words only adds to her charm. And Edward Baker-Duly (Max) leans fully into his role as the villain, delivering a wonderfully exaggerated, very British performance.
The audience itself becomes part of the experience. Despite the temptation to sing along, there is a real sense of respect in the room but that does not stop the audible gasps, laughter, and reactions that explode through the auditorium. At times, it feels like a character in its own right, particularly in Act 2, where the twists and turns come thick and fast.
Somehow, this show even manages to make the mundane… sexy. I never thought I would say that about bins or ice cubes, but here we are…
If I have any gripes, they are minor, and not really about the show itself. I am genuinely disappointed not to see a merchandise stand, because for once, I absolutely would buy something. And while the programme is beautifully produced, I would love more insight into the development of the show itself – I find myself having to look that up afterwards.
But these are small things. Because ultimately, I love this show. I love this show so much that I am going back again this week. It feels like a festival in its own right—joyful, vibrant, and full of life.
Thank you to everyone involved in this show for kicking off my summer in such a fantastic way.
Here and Now is playing at Leicester’s Curve Theatre until Saturday 2 May. It would be a….oh I can’t resist at least one Steps-related pun…TRAGEDY to miss it.
