We Will Rock You

Imagine a dystopian future version of the earth where all musical instruments are banned and individual thought is punished by a controlling media corporation, then set this to a background of the iconic songs of supergroup Queen, and you have the storyline for ‘We Will Rock You.’   Directed by Mike Follen, Newark Amateur Operatic Society takes us on a high octane, futuristic journey which leaves us with an uncomfortable thought – in a world increasingly becoming dominated by artificial intelligence is this an echo of our own future?

Our hero is Galileo (Dan Spendlow von Moos) who is plagued with recurring dreams of ancient lyrics and strange names that make no sense to him. In addition, he is out of touch with the people around him preferring to wear a denim jacket instead of the state approved utilitarian outfits of his peers and has also aroused suspicions of his teacher (Laura Catt.)  We hear from Buddy (Ian Stewart) an aging hippie, of a missing legendary ancient scroll with incredible power and the dreamer destined to find it.  Could Galileo be the one?

Futuristic cheerleaders the Teen Queens appear (Ash Betts, Lucy Davis and Molly Sheekey) wearing shoes with soles of flashing blue lights and dark glasses performing to Radio Ga Ga demonstrating just how under control and brainwashed they are through listening to state approved music. 

In the mall, another Ga Ga Girl (Jade Mulligan) appears but with a difference - she has individuality, styling her hair purple and wearing black dresses, much to the disgust of the other mall girls in their shiny metallic jewel-coloured dresses.  

Galileo and the girl soon come to the attention of Khashoggi (Ollie Kirkwood), the Killer Queen’s henchman, who carries out her orders ensuring that her perfect world operates without glitches, and they are both arrested as rebels to be reconditioned.

We next meet The Killer Queen herself (Keira Dormer-Hazell), the CEO of Globalsoft, a nightmarish dominatrix, half-human, half pixellated control freak who despises individuality and free thinkers she refers to as the Bohemians.  

In the prison hospital, a friendship is formed as Galileo and the girl, bond over their mutual need for individuality and the realisation that they are a threat to the status quo. They join forces and quickly escape together. 

In the wastelands, we meet Oz (Lucy Dale) a spiky punky girl with attitude and her boyfriend Brit (Tony Tallis) scavenging for materials to make instruments with.  They are Bohemians and eventually they take Galileo and the girl to their secret underground hideout known as the ‘Heartbreak Hotel.’  This is the place where the outcasts go, the rebels resisting the controlling Globalsoft Corporation.  Here we meet a host of characters named after long forgotten rock stars and singers who dress to reflect their rock status, and they quickly give Galileo, and the newly named Scaramouche, a makeover more fitting to their adopted Bohemian rock lifestyle. 

Buddy reminisces about the days before music was banned and quickly realises that Galileo is tapping into some long-forgotten data base of musical lyrics known as the ‘holy texts’ and rumours of a legendary item called the axe.   I loved the poignant montage of rock stars taken too soon, such as Janis Joplin and Kurt Cobain, finishing with Freddie Mercury himself.  Galileo appears wearing a white vest – could he be a reincarnation of Freddie and the one they have been waiting for? 

Tragically, their celebrations are cut-short when Khashoggi infiltrates the hide away, due to the chips implanted in Galileo and Scaramouche during their arrest. He rounds up all the Bohemians and Brit is killed allowing Galileo and Scaramouche to escape.  Has the Killer Queen extinguished all resistance or is there still a flame of hope remaining?

Incredible performances from all the lead characters.  Keira was perfectly cast as the meglomaniac Badass Babe, Killer Queen. She commanded the stage belting out classics such as Another One Bites the Dust and of course, her namesake Killer Queen.  I loved her sassy routine with the saucy maids to Fat Bottomed Girls.

Ollie had lots of fun playing the villain Khashoggi strutting around the stage like a silver clad Darth Vader. I loved the way he spat out the alien lyrics as if they were poison, paraphrasing each one to the delight of the audience.  His solo to Seven Seas of Rhye was powerfully delivered as he gleefully tortured the Bohemians.

Tony as Brit (real name Britney Spears!) performed well creating a lovable character and he had a lovely rapport with Oz his girlfriend.  Lucy was outstanding in the role of Oz creating an edgy character with real rock and roll attitude.  Her vocals were stunning, easily taking on some of the most iconic power ballads with ease.  Her performance of No-one but you (only the good die young) accompanied by a montage of long dead pop stars, was delivered beautifully and in complete contrast to her duet with Brit I want it all showcasing her powerful vocal range. 

Jade was excellent as the sassy Scaramouche determined to be herself at all costs and not being taken advantage of for being ‘just a chick.’  She worked well with Dan and her verbal tirades and sarcasm was very funny.  Jade is an all-round performer who sang some beautiful duets with Dan including Under Pressure and the haunting Who wants to live Forever the symbol of their joint defiance as they faced their fate together.

Dan brought a tortured character to Galileo tormented by songs and lyrics from a forgotten past.  I loved his storytelling as he gradually made sense of his fate as a man of destiny accepting his role in the prophecy.  He had lovely vocals in his duets with Jade and his voice perfectly complimented her. 

Special mention to Ian as long suffering hippie Buddy, whose outdated phrases reflected a bygone less politically correct time associated with rock and the world of groupies and roadies.  He had some of the wittiest lines of the show especially in his malapropisms calling Scaramouche ‘scary bush’ and his wry comment on his sexuality ‘any port in a storm man.’

The main cast was completed by the ensemble playing handmaidens, yuppies, Ga Ga Girls, hospital staff, the Globalsoft police, plus a host of Bohemians.  Choreography from Katy Stafford perfectly reflected the soulless police state and zombie like inhabitants of iPlanet.  In contrast other dance routines, featuring the free-spirited Bohemians, were full of rock inspired movements and gestures. 

The set (Chris Mann, Mark Noutch and Mick Spendlow) was stark reflecting the futuristic theme, featuring a two-level platform allowing the actors to be elevated over the performers on the stage.  There were steps leading under the stage which were used effectively for entrances and exits.  A constantly flashing and pulsating video wall (created by Ollie Kirkwood) created scene changes, for example the switch to The Heartbreak Hotel represented by a tiled wall and subway signs representing the abandoned underground station, and the ominous ever-present logo of Globalsoft Corporation which changed from blue to red with the capricious mood of the Killer Queen. The lighting was used very effectively to create atmosphere for scenes such as stark white lights in the clinical hospital and torture scenes and the red lights for the Killer Queen’s domain. 

Costumes (Sarah Chrimes) were beautifully crafted creating a contrast of metallic futuristic clothing for Khashoggi and the residents of iPlanet and traditional grunge rock outfits with leather moulded bodices and gladiator styled skirts, fishnet stockings, long hair and lots of tattoos for the rebel Bohemians. I loved the light up shoes worn by the Teen Queens and Khashoggi and the illuminated cape worn by the Killer Queen.

Obviously, such a rock heavy musical requires strong musical direction and Lindsay Follen and Paul O’Leary more than rose to the challenge putting the leads and ensemble through complex harmonies. A live orchestra concealed behind the stage created a powerful wall of sound achieved through strident electric guitars to achieve the vibrant rock sound.  

Congratulations to Mike Follen, your ‘one vision’ for this rock legend of a show has clearly paid off with powerful storytelling, strong characterisation and a musical score celebrating one of the greatest bands and its legendary lead singer.   It was certainly appreciated by the audience who rewarded the performers with a well-deserved standing ovation on its opening night. 

It was also a pleasure to be greeted again so warmly by Rita and Bob Crowe and the chance to chat to some of the cast after the show.  I look forward to your production of Dear Evan Hansen in October. 

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