Here and Now – The Steps Musical – Bord Gáis Energy Theatre – Review
by Brian Merriman

23 September – 04 October 2025

Written by Shaun Kitchener
Directed by Rachel Kavanaugh

Sometimes this genre is referred to as jukebox musicals, and when it comes to jukeboxes, STEPS, the 1990s pop group, was jukebox gold. The plots are quite a challenge to link already lyriced hits to characters and plot. They are usually as thin as a whisker. This one has a cuteness and a campness, with a deadline set for those without a relationship to get one that makes them happy in time for a big birthday.

However, jukebox musicals can often get a bad reputation, especially among more purist musical theatre lovers. The predictable melodramatic plot with suitable baddies may annoy those in search of drama, but what harm, when it is just a construction to entertain and to perform a repertoire of hits that remind an audience of its own youthful experiences.

This use of a compilation of established hits predates the jukebox. Cole Porter was a prolific hitmaker in the 1930s. He effectively used paper-thin plots of ‘boy meets girl’ as a vehicle to showcase his memorable hits that thrilled audiences in the 1930s. Before that, musicals were a vehicle to teach people the hits, with the original Jerome Kern version of Showboat lasting five hours, with endless renditions of Ol’ Man River so that everyone left the theatre singing the songs.

And that’s exactly what you will do over a century later… you will leave the theatre singing the songs, wonderfully rendered in Here and Now. STEPS was formed by a group of singers who responded to an ad in The Stage newspaper in 1997, looking to set up a new pop dance group. They included Lee Latchford-Evans, Claire Richards, Lisa Scott-Lee, Faye Tozer and Ian “H” Watkins. STEPS lasted a decade, scoring two number ones, before breaking up in 2007. None were present at this Irish premiere, but theatre icon Dame Judi Dench was spotted in the theatre supporting her daughter (Finty Williams – Patricia) in the cast!

The psychedelic seaside superstore Better Best Bargains is our locale, and the staff our instant friends. It’s summer, and our hero Caz discovers the shelves are stocked with lies and betrayal, loss and unexpressed love, putting her expected happy endings for all, to celebrate her 50th birthday, in jeopardy.

Steps’ dance hits, including 5, 6, 7, 8 (the staple diet of line dancers), Stomp, Better Best Forgotten, and Last Thing On My Mind, and their covers Tragedy and Better the Devil You know are all served up to make us believe crisis can, after all, be averted.

Rebecca Lock is a vocal sensation as Caz. Her flawless renditions as a powerful soloist or as part of a quartet with her store colleagues Vel (a soulful Jacqui Dubois), Neeta (a skilled light comic turn by Rosie Singha) and Robbie (another vocal treat by Blake Patrick Robinson) are the polished glue that lifts your spirits as hit after hit is belted out over the hectic 150 minutes.

There is an equally wonderful and camp supporting cast with Jem (River Medway) a drag artiste with hints of Angel in Rent, Tracey, a lovable stock room assistant from Lauren Woolf, ‘badboy’ Max Edward Baker Duly, and a likeable comic Ben (Ben Darcy) all fine singers, backed up with a dance ensemble of incredible physiques and non-stop energy!

Matt Cole’s choreography warms up during the performance. Stuck in a Dale Winton’s Supermarket Sweep set, we have dancing on conveyor belts, swirling shopping trolleys and effervescent baskets, products, washing machines and colourful props.

Love is in the air throughout, with Rachel Kavanaugh’s slick direction, brightly illuminated by Howard Hudson’s colourful lighting design. The audience was asked not to sing along during the performance and to save themselves for the electric and required mega mix finale. Most complied but were itching to get on their feet all night.

One of the requirements of a successful compilation musical is that it must bring something new to our familiar favourites. Georgia Rawlins’ Musical direction of Matt Spencer Smith’s great orchestrations and arrangements did that most ably, abetted by a cast with enviable vocal talent that never faltered throughout. The singing is really the big hit here, and the energy pouring off the stage was spurred on by the enthusiasm of the many STEPS fans who piled in to relive special memories. This company delivered their better best, gazumping the nostalgia of over a decade ago back into the here and now, with style. A very entertaining show.