Love Steps playing until the 20th April at Omnibus Theatre, is written, co-produced and directed by Anastasia Osei-Kuffour. The play features two cast members, Sharon Rose; who plays Anna. Anna is young, black, gifted, driven and ambitious. Reece Richards, plays multiple male prototypes and well executes the variety of qualities, traits, mixed messages and nuances woman experience from various types of men of different races, cultures and diverse backgrounds in reality as well as via online-dating.

Love Steps delves deeply into each step required to experience to eventually reach the final destination ‘Love’. Whilst simultaneously highlighting the difficulties black woman especially tend to experience in the name of pursuing, attracting and feeling desired to tap into love within England. Starting off with Hinge, the dating app designed to be deleted (as the branding states) metaphorically depicted ping gaming sound effects, as we witness Anna swiping away until she matches with a potential, however, how much potential is there when there is a match? how truthful does one need to be initially? and is asking for openness, honesty & vulnerability too much once the signs are there that you’re both into each other, willing to give the dating experience a fair shot? if so, is it the guys fault by default preventing the love petals from blossoming out of fear, anxiety, lack of emotional intelligence and subconscious detachments from femininity, feelings and fate. This play smartly sparks a lot of gentle curiosities… even once you’ve left.

Poetry was nicely incorporated throughout the play to showcase various episodes of love such as the honey moon phase, initial stages of chemistry, romantically consumed with passion, excitement, butterflies, chances, openness, shared memories, realness, affection, hope, dedication, purpose & warmth… slowly wittering away to coldness, emotional distancing, suppressed feelings, talking less, loose usage of “I love you”, loss of interest, deceit, non-confronted deception, loneliness, mixed emotions, emotional distress; leaving a woman broken, numb and hurt; all in the name of love which inevitably conflicts back to a broken heart, a heart broken from love when you never saw it coming.

Captivating expressions were revealed to manifest the underlying feelings and states women are left with and how men spiritually channel regret, pain, remorse, disrespect and oblivion to their wrongdoings through physical theatre movement, which nicely complimented the space with the dimmed lit illuminance.

Love Steps speaks volumes of how much importance females can place on relationships during adulthood. How lost the mind can get, how healing/self soothing balms and recovery steps will always be unique to an individual, & how much that stage gets overlooked forgetting it needs to be nourished frequently, valued and prioritised during and long after a break up until someone possibly captures your heart next.

There are several fundamental messages to be taken away from this play. Anna being the first generation born in the UK gave her a lot to ponder on when making comparisons on whether her feeling undesirable, unwanted and second best would be her fate back home in Africa, therefore, finding self acceptance & comfort to ground self when caught up in waves of being seen as a fetish, sexualised, objectified, an option and a non-beauty standard within western society whilst dating all types of men, is the antidote to providing true sanity, tranquility & female empowerment when recuperating from heartbreak to give love another shot!

A highly recommended play that explores many crucial themes such as cultural dynamics and variations of dating styles that people worldwide are bound to experience from all walks of life striving to search, find & intimately connect with the next chance encounter to experience love at least once in their lifetime.