If you grew up in the 1980s or simply love the pop sound of the decade, Now That’s What I Call a Musical is practically made for you. Set in Sparkhill, Birmingham in 2009, this jukebox musical isn’t just a nostalgic trip through the NOW compilation albums of the era (the first one came out in November 1983) — it’s a heartfelt story about friendship, family and life getting in the way while you’re busy making other plans. Directed by Craig Revel Horwood, this production is currently touring the UK and making waves with its mix of retro tunes, sharp writing, and strong performances.
The show centres around Gemma (Nina Wadia) and April (Sam Bailey), two women in their forties attending their school reunion for the Class of ’89. As we meet them in the present day — and in the local pub, no less — Gemma finds herself trapped in a loveless marriage and feeling as though life has passed her by. The story unfolds as she reminisces about her youth and her once-close bond with April. In an effective storytelling device, we see her watching the younger versions of Gemma and April played superbly by Nikita Johal and Maia Hawkins respectively as the actors switch between past and present.
Photo Mark Senior
We’re also introduced to Gemma’s family — her brother Frank (Shakil Hussain), her mum (Poppy Tierney), and her dad (Christopher Glover) — as well as a lively ensemble of classmates, teachers, and long-lost love interests and younger versions of various characters. The dynamic cast keeps the energy up throughout, and it’s a joy to see a diverse group of performers bringing this story to life with humour and heart. Chris Grahamson is a standout as Gemma’s husband Tim — the villain of the piece — playing the role with just the right mix of smugness and menace.
Sam Bailey, best known as the winner of The X Factor in 2013, is a real revelation here — not just vocally (though she sounds as incredible as ever), but in her acting as well. She brings warmth, timing, and depth to April, effortlessly holding her own in a cast of strong performers and proving she’s much more than just a powerhouse voice.
What makes this jukebox musical stand out is not just the music — although it’s packed with bangers from the likes of Cyndi Lauper, Soft Cell, The Proclaimers, Dead or Alive, Toni Basil, and many more — but the way the songs are woven into the narrative. These aren’t just musical interludes shoehorned into the story: many of the arrangements are fresh, clever, and emotionally resonant. Too Much Too Young by The Specials and Everybody Wants to Rule the World by Tears For Fears are particular highlights, adding surprising poignancy to key moments. There’s even a Dirty Dancingmoment that was an utter delight.
Another strength is the writing — the dialogue feels natural, relatable, funny and poignant. The conversations between characters sound like real people talking, not just theatrical exposition. It might not be high-concept drama, but it knows exactly what it is: a feel-good, emotionally honest celebration of music, memory, and connection.
One recurring thread in the story is Gemma’s love for 80s pop star Sonia, which leads to a big moment in Act 2 that didn’t quite land for me — but clearly went down well with much of the audience. Without giving too much away (especially as the show is touring), I’ll say it plays into the show’s joyful sense of nostalgia in a way that many will appreciate.
Set and costume design are vibrant and effective, with quick shifts from pub to teenage bedroom, family kitchen, canalside, and more. At times, the frequent scene changes — especially mid-song — felt like a bit too much, but overall the transitions were smooth and visually engaging.
Photo Pamela Raith
As for the musical numbers, they’re strong across the board, and the live band delivers with energy. Whilst a few of the choreography choices felt underwhelming at times (especially considering Revel Horwood’s dance credentials), the cast made up for it with heart and enthusiasm and commitment to the piece.
The finale is pure joy: a high-energy 80s medley curtain call with rotating guest stars from the decade. At press night, we were treated to Sonia, Sinitta, and Carol Decker — a real treat for the audience, and a party atmosphere to end the night on a high. (The guest slot rotates between them and Toyah throughout the tour.)
All in all, Now That’s What I Call a Musical is exactly what you’d hope for in a jukebox show: it’s uplifting, well-acted, packed with great songs, and just sentimental enough to stir something in you. No, it’s not reinventing the genre — but if you’re looking for a fun, light-hearted night out, with a generous dose of nostalgia that still has real craft behind it, this is the one.
Words by Helen Keegan
Top image credit Mark Senior
