Here & Now – Milton Keynes Theatre

Book: Shaun Kitchener

Director: Rachel Kavanaugh

Here & Now is a jukebox musical built around the music of the British pop group Steps, the late-1990s and early-2000s chart group known for their tightly synchronised dance routines, upbeat pop songs, and unmistakable feel-good energy. Premiering in Birmingham in 2024 with a book by Shaun Kitchener and direction by Rachel Kavanaugh, the musical uses the band’s catalogue to build an original story set in a seaside supermarket, Better Best Bargains, where a group of friends commit to changing their lives over one transformative summer. The plot centres on friendship, second chances, and new beginnings, following a group of characters who, in different ways, are trying to rewrite their own happy endings.

The show does not attempt to be a long-standing piece of high-brow drama. Rather, it presents itself as a farce of ridiculous proportions, and its saving grace is that it recognises exactly what it is — silly, camp and entirely self-aware. The tone frequently shifts between sincere emotional moments and full pop-concert spectacle, and this tonal whiplash ultimately defines the evening.  It should be noted that the show does come with a content trigger warning, as Caz, the protagonist, explains that her son was ‘born sleeping’. Whilst this is an important issue and stories should be told, it feels jarring to put it in such a carefree, whimsical show.

The main weakness of Here & Now is that the storyline feels underdeveloped and lacks a cohesive dramatic arc. At times, the plot seems to exist primarily as a vehicle to move from one Steps song to the next rather than as a fully realised piece of storytelling. While the themes are clear and the characters are likeable, the book never quite provides the emotional depth needed for the audience to invest in the narrative fully. The absence of depth within the book is amplified by the gravity of its subject matter, which frankly needs to be treated as more than a plot device.

Lara Denning is a strong and engaging leading lady. She is instantly likeable as Caz and does her best with the material she is given, but the poor script means the audience cannot fully invest in her character’s journey in the way the show intends. That said, she is a vocal powerhouse, and her performance is both assured and warm. Denning also shares an easy and believable onstage chemistry with the other principal cast members — Vel (Jacqui Dubois), Neeta (Rosie Singha), and Robbie (Blake Patrick Anderson) — and it is clear that they are enjoying themselves onstage. They are supported by a vibrant ensemble of triple-threat performers who move through the show with impressive precision and energy, always feeling like a single, well-oiled machine.

The set, designed by Tom Rogers, is visually striking and gives the production a strong visual identity. The design centres around a stylised supermarket environment featuring four receding portals filled with themed toiletries and washing powder, while tills slide in and out alongside various white goods. It is a clever and colourful design that keeps the stage visually engaging, although it does not always feel as though the space is used to its full potential.

Howard Hudson’s lighting design plays a significant role in shaping the show’s atmosphere, shifting from harsh fluorescent supermarket strip lighting to full arena-style concert lighting for the musical numbers. This contrast works particularly well and reinforces the sense that the show is, at its heart, a pop concert wrapped in a musical.

Ultimately, the main draw of Here & Now is not its story but the music of Steps. The production leans heavily into nostalgia and the feel-good factor, and fans of the group are unlikely to be disappointed by the upbeat, concert-like atmosphere. The theatre erupts at the end of the show with the finale megamix, where audience members dust off the original Steps choreography and end the evening on a real high. While the musical may not succeed as a fully cohesive piece of storytelling, it does succeed in delivering an entertaining evening driven by strong performances, energetic choreography, and a catalogue of well-loved pop songs. An enjoyable evening regardless of its flaws.

Runs until 4 April 2026 and on tour