Stepping Out
Outpourings on Tap
Stepping Out
by Richard Harris
Teddington Theatre Club, at Hampton Hill Theatre until 9th March
Review by Heather Moulson
Opening in the setting of an appropriately authentically atmosphere of a grim scout hall, the tap dance class in Stepping Out is rife with potential for tapping their souls as they tap their soles. Since its original production in 1984, the show has been updated with the use of smartphones, card machines and the shadow of COVID, but none of these hold anything back from the original text.
Despite the apprehension of the class, there is terrific dancing and music, even before their final long-anticipated production. The air is thick with pathos and sinister undercurrents, not to mention unmentionable secrets, and very edgy humour. With the two great accompaniments, of the piano, and of the build-up of tense feelings, the situation gradually leads to revelations by the eight tap dancing pupils.
There is a Sue Townsend-esque feel about the setting, but Jack Tidball’s well thought out set design is impressive, and the lighting, designed by Patrick Troughton is consistent with the mood overall.
The glamorous Vera, who holds a shocking old chestnut herself, is immaculately turned out, but is insecure, pampered, and with menacing tones of OCD. Samantha McGill in the role is vibrant and highly engaging. Her co-pupil, the bawdy, cynical, witty Maxine, is played by Clair Jardella, with just the right level of sadness and with great stage presence.
The dance teacher Mavis is a long way from opening up on her secrets, but the pianist Mrs Fraser is upfront from the start. Outspoken and colourfully dressed, Mrs Fraser, played by Helen Geldert, holds a rocky bond with Jen Moorhead’s Mavis.
It feels like Mavis holds back a mite too long, but this seemed to apply to most of the cast. Some of the revelations are subdued and anticlimactic, and issues are touched on but barely brought out into the open.
The rest of the cast do a sterling job carrying their own subtexts. Ella Ashdown as the uptight Andy is wobbling dangerously towards breakdown. Sylvia, a planted family girl, is played by Libby Coyte with strong bawdy delivery, a valuable presence. This also applies to Enid Gayle who plays Rose, her earthy humour beautifully done. The reticent Dorothy, full of insecurity, is sensitively performed by Kirsty MacDonald, while Georgia Henderson’s nurse Lynne opens up smoothly about her own trauma. Meanwhile, David Hannigan as the shy widowed Geoffrey, the only male class member, carries the can of jibes with equanimity.
Jacob Taylor makes a very funny coarse course technician.
Director and long time TTC member, Mandy Stenhouse creates just the right balance with the ambivalent text. Appropriate to the title, the choreography by Dawn Lacey is impressive. So, if you want to be stepping out to Hampton Hill Theatre to Stepping Out, you’d better get your tap shoes on.
Heather Moulson, March 2024
Photography by Kim Harding
Mark Aspen 
“Issues are touched on but not brought out into the open” – this is in the writing of the play, leaving the audience to “think” and decide for themselves- especially in Vera’s case- the inference being she has a control freak of a husband who is now doing the same with her daughter – “she is like I was at that age” leaving possible suggestion of something more sinister than just a controlling step-father
Congratulations to cast and crew so well presented by all
Saw my daughter Kirsty at Rugby Theatre many years ago and she is still dancing as well now as she was then it’s the best exercise you can get!