We Will Rock You

As the biggest Queen fan going, it was with palpable anticipation that I entered the auditorium for Dryburn Theatrical Workshop’s latest production, “We Will Rock You” the adult amateur premiere of the iconic musical! Very exciting, especially on what would have been Freddie Mercury’s 79th birthday. A collection was held for the Mercury Phoenix Trust, set up in his memory raising awareness and funds in the global fight against AIDS.

It is no easy feat to take on a show that is not only packed with universally beloved Queen hits but also demands a sense of spectacle and innovation from a company. From the very first chord to the final crescendo, Dryburn more than rose to the challenge, delivering an energetic, inventive, and thoroughly enjoyable production that thrilled audiences and showcased the immense talent within the group. The incredible video wall screens and graphics from Hi-Lights Theatre Services dominated the stage and were nothing short of a spectacle along with their sound and light delivery throughout – absolutely stunning and a testament to the hard work of Martin Warden and Craig Holt. Lighting was dynamic throughout; well-placed spotlights, bold colour washes, and some well-timed strobe effects gave the show a constant sense of motion and drama.

The directorial vision for this production from Michelle Coulson was clear, focused, and brilliantly executed. I would expect nothing less! The director approached Ben Elton’s script with a fresh enthusiasm, successfully balancing the musical’s satirical edge with heartfelt moments. The pacing was expertly managed transitions between scenes and songs felt seamless, and the complex ensemble pieces never once lagged. The creative use of space and multimedia elements enhanced the narrative without distracting from the performances. It was clear from the outset that Michelle had a strong grasp of the material as well as a deep trust in their cast and crew, resulting in a cohesive and exhilarating evening with as an audience member we absolutely loved.

A special mention must be made of the choreography, which was not merely impressive but absolutely integral to the show’s success. Take a bow Rebecca Scott! I wrote down “precision” repeatedly and the ensemble numbers were impressively rehearsed, slick, and precise. With “We Will Rock You” demanding movement that channels both rock concert electricity and theatrical clarity, her work truly shone. The ensemble displayed enthusiasm and discipline, with sharp, synchronised routines that electrified group numbers such as “Radio Ga Ga,” “I Want to Break Free,” and the iconic “We Will Rock You.”  The inventive use of levels, formations, and stage geography kept the eye engaged and underscored the anarchic, rebellious spirit of the show.

The musical direction from Rhys Chambers was equally strong. The live band with some use of click tracks for depth, tackled Queen’s famously complex arrangements with skill and gusto, offering faithful renditions that never overshadowed the singers. Harmonies were tight, and the sound mix was well balanced, allowing every lyric to be heard, and the band’s energy was infectious, drawing the audience into the action. Particular credit must go to the musicians for their discipline in not overpowering the vocalists—a frequent pitfall in rock musicals that was expertly avoided here. Take a bow production team!

The visual motifs—graffiti, neon, and battered metal—spoke both to the world of the Bohemians and the corporate sterility of Globalsoft. Costuming and wigs were similarly thoughtful, with character-appropriate choices that referenced both the original West End production and Queen’s own legendary style—think leather, studs, slashed tights, and a dash of glamour. The only tiny (and very picky) feedback I would suggest would be to think about consistency of footwear – character shoes did not quite match the consistency of the piece.

Of the many remarkable performances in this production, two in particular merit special mention. Luke McGarey’s Galileo brought both vulnerability and rock-star swagger to the stage. His physicality was confident and relaxed, perfectly capturing the character’s reluctant heroism. Luke’s vocals were outstanding—a clear, powerful instrument that handled both the quieter, introspective moments (“Who Wants to Live Forever”) and the full-throttle numbers (“We Are the Champions” especially that top note! and “I Want to Break Free”) with equal assurance. The vocal slide in “Under Pressure” was quite something! His comic timing and chemistry with his fellow cast members, especially Scaramouche, added depth to the performance, making Galileo both relatable and magnetic. McGarey’s star quality was evident from his very first entrance and never dimmed throughout the show. The epitome however had to be Luke playing Bohemian Rhapsody live on a grand piano for the finale. Utterly incredible moment to witness and truly special to the audience. Outstanding Luke!

Claire Archer’s portrayal of Oz was an incredible highlight for both me and my guest (Mum and fellow Queen avid fan!). With a stage presence that was vibrant, fiery, and utterly compelling, Archer commanded attention in every scene. Her vocals soared through “No-One But You” and all of us in my row mouthed “wow,” imbuing the song with emotional resonance and gravitas. Her commitment to the rebellious energy of the character, coupled with her expressive movement and strong dynamic with Brit, made Oz a standout figure in the Bohemian ensemble. Claire’s confidence and charisma elevated every group scene and brought a raw, authentic edge to the production. 

The entire company should be commended for their dedication and passion. Scaramouche played by Victoria Jackson provided razor-sharp wit and serious vocal prowess, especially in “Somebody to Love”.; Brit’s, played by the diverse Joe Coulson’s cheeky bravado was perfectly weighted; Killer Queen by Anya Siou, a true femme fatale, delivered villainy with style and panache and Khashoggi played by Phil Stabler was a true dynamic villain with a look of a Targaryen about him!  Lee Passmoor played a wonderful Buddy, a fatherly guidance figure with gusto and charm.

The ensemble was cohesive, energetic, and always invested—never flagging, even in the show’s most demanding moments. Crowd scenes were alive with detail, and every performer contributed to the production’s sense of community and fun.

One of the defining features of this production was its connection with the audience. From raucous laughter at Elton’s jokes to the encouragement to clap along to “We Will Rock You” and “We Are the Champions,” there was a communal spirit that pervaded the auditorium. The cast’s energy was infectious, and the clear enjoyment radiating from the stage was reflected in the response from those watching—a true testament to the company’s hard work and enthusiasm.

In summary, Dryburn Theatrical Workshop’s “We Will Rock You” was a tour-de-force of community theatre: innovative, heartfelt, and exhilarating. The direction, choreography, and musical direction were all exceptional, and the technical aspects created a visually and aurally striking world. In particular, Luke McGarey’s Galileo and Claire Archer’s Oz gave performances that will linger in the memory long after the final curtain. It is rare to see an amateur production deliver such consistent excellence from start to finish, and Dryburn should be justly proud of their achievement and consistency in excellence.

This is a production that will be spoken about for many seasons to come—a testament to the enduring power of Queen’s music and the immense talent, passion, and commitment of Dryburn Theatrical Workshop.

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