Kiss Me Quickstep - Derby Theatre

★★★★☆

Amanda Whittington’s Kiss Me Quickstep sweeps audiences into the glittering world of competitive ballroom. It’s fun, uplifting, and beautifully danced! This Made in Derby production is a show tailor-made for its audience and is relentlessly entertaining.

Clair Gleave and Jabez Sykes. Photo by Graeme Braidwood.

Set against the glitzy, high-stakes world of competitive ballroom dancing, Kiss Me Quickstep follows three determined couples as they arrive in Blackpool to chase their dreams of dancefloor glory. Behind the sequins and smiles lie tangled relationships, personal sacrifices, and the bruising reality of ambition, pride, and rivalry. As the competition intensifies, so do the emotional stakes, revealing the fragility and passion beneath the polished routines. With warmth, wit, and heart, the play explores what it takes to follow your dreams—one quickstep at a time.

Director Lilac Yosiphon has crafted a production that feels fresh, modern, and perfectly in tune with its Derbyshire audience. The performance embraces moments of silence, providing opportunities for reflection amidst the fanfare, and I loved it. 

But let’s talk dancing. Joanna Goodwin’s choreography is the real showstopper. Whether you're ambivalent about ballroom or a die-hard fan, the beautifully short yet explosive routines performed by the cast make dance the beating heart of the show. Ballroom has never felt so exciting! A show about ballroom would be nothing without exciting dance routines, and Goodwin provided those in abundance.

Hollie Jane Stephens and Ashley Gilmour. Photo by Graeme Braidwood.

Clair Gleave as Nancy and Jabez Sykes as Luka are utterly captivating on the stage. Not only are they top-tier dancers, but their on-stage relationship felt genuine and warm, like watching two lost souls finally reconnecting. Gleave’s Nancy captured the naivety of a young dancer entering these competitions, especially when pushed so intensely by her father, Mick, played by Jason Furnival. 

For me, the story of Nancy and Luka was the most honest. There were very few gimmicks used to propel this story forward, and it was enjoyable to see their characters develop. Luka is a fascinating character, having left Russia behind to pursue his dancing dreams, which are banned in his home country, highlighting the social and political issues currently unfolding in Russia. Sykes delivers Luka’s gentle strength with grace, offering a powerful arc without the need for contrived drama.

Isabel Snaas and Matthew Jeans. Photo by Graeme Braidwood.

The story of Justin (Ashley Gilmour) and Jodie (Hollie Jane Stephens) tells of a couple thinking of giving up dancing due to the rising costs — we find out that the couple are in debt and will lose their house — but their love for ballroom means they would happily continue a life in poverty if it meant continuing to dance. Yes, this plot toes the line between a narrative shortcut and being the plot of the Step Up movies, but Gilmour and Stephens made it work. Hollie Jane Stephens’ deadpan humour and Ashley Gilmour’s effortless charm create a pairing that’s as grounded as it is endearing. The pair also delivered three show-stopping dances that had the audience roaring with applause.

The final couple gracing the stage were Matthew Jeans as Lee and Isabel Snaas as Samantha. A couple who have reached stardom, featured in dancing publications, and are well-renowned by their peers — it does then beg the question why they’re dancing in an ‘amateur’ league, but this is theatre, we can use artistic licence. Their story employs some obvious narrative tropes, such as alcoholism, to give the characters more depth; however, Isabel Snaas’s portrayal of a woman fatigued by the limelight is brilliantly raw! Similarly, Matthew Jeans provided a heartfelt moment of creative reckoning when exploring his character's connection with dance, and it lands beautifully.

Photo by Graeme Braidwood

While the script sometimes relies on narrative gimmicks, such as financial struggles and alcoholism, the story remains emotionally engaging without them. When the writing allows, the show really sings. The set (Eleanor Field), sound (Lee Affen), and lighting (David Coull) effectively capture the interior of the ballroom at Blackpool. Even if there were some rogue lighting cues and microphone issues, they will be ironed out as the run goes on, and they didn’t detract from the enjoyment of the show.

Kiss Me Quickstep isn’t gritty, groundbreaking theatre. It’s not aiming to upend your world—it’s here to lift it. It's a feel-good, easily watchable, tap-your-feet-and-make-you-smile kind of show. With compelling stories, empathy, and outstanding dance, this production is relentlessly entertaining and perfect for families or any dance lovers. With ballroom at its heart, it is a joy to behold.