We Will Rock You

Queen’s We Will Rock You remains a high-energy, crowd-pleasing musical built around themes of individuality, rebellion, and the power of live music in a conformist, digital world. Filled with popular songs and larger-than-life characters, it demands a strong visual identity and confident performances to fully land its impact. Zodiac Theatre Group’s production embraced the spirit of the show, delivering an entertaining and visually engaging evening with some particularly strong individual performances.

From a technical perspective, this was a production that leaned heavily into simplicity of staging, opting for no physical set and instead using a screen as the primary backdrop. While this allowed for seamless transitions and ensured the show flowed well without interruptions for set changes, it did at times leave the stage feeling somewhat bare—particularly in scenes with smaller numbers of performers. The use of on-screen content, however, was effective and very well timed, helping to establish setting and maintain pace throughout.

The decision to position the band behind the raised platform, in front of the screen, was an interesting one. While it is always a pleasure to see a live band featured in a rock musical, their placement behind the action felt slightly disconnected from the performance space. Lighting design was a real strength of the production. The use of circular lights for prison/caged effects added depth and atmosphere, and the lighting choices consistently complemented the tone of each scene. Credit must go to Joe Sanderson for creating a visually dynamic environment that elevated the performance.

Costuming, coordinated by Chloe Pennington, was another standout element. The principal costumes were vibrant, detailed, and highly fitting for the style of the show, with an impressive use of accessories to complete each look. While there were moments where ensemble costumes lacked the same level of detail, the overall visual impression remained strong and contributed significantly to the production’s identity.

Direction by Gareth Earl demonstrated a clear vision for the piece. The production was well staged, with thoughtful blocking and a strong sense of character relationships throughout. The principal characters, in particular, felt well developed, and the ensemble was utilised effectively within scenes. However, the inclusion of a large number of topical or political jokes did feel somewhat excessive at times, occasionally detracting from the narrative flow.

Choreography by Joni Rusling showed creativity, with some particularly enjoyable moments—most notably the “Gaga Girls” number. However, there were instances where the choreography lacked precision, with formations appearing slightly untidy and transitions between positions leading to visible congestion on stage. At times, the large cast size worked against the choreography, with overcrowding limiting clarity and impact. A greater focus on spacing and refinement would strengthen these moments further.

Musically, the production was led by Craig Price, along with a band of seven. The musicians worked well together and produced a strong overall sound, which is essential for a show of this nature. There were a few timing inconsistencies throughout, though it was not always clear whether these stemmed from the band or the cast. Despite this, the harmonies were generally well executed, with Bohemian Rhapsody standing out as a particularly strong ensemble number. Sound balance was well managed, with microphones clear and allowing all performers to be heard effectively.

The cast delivered a number of memorable performances, with several standouts among the principals. Jack Parry as Galileo gave a confident and energetic performance, showcasing impressive vocals and a strong stage presence. He made the role his own, maintaining high energy throughout and building a believable and engaging relationship with Scaramouche.

Kirstie Warren’s Scaramouche was a strong counterpart, offering a dry comedic edge and excellent dance ability. While her vocals were solid, there were moments where I felt she could have pushed further vocally. Nevertheless, her performance was engaging and well characterised.

Kat Jae as Killer Queen delivered a commanding and polished performance, with powerful vocals and an authoritative stage presence, bringing high levels of sass to the role. Her portrayal was both believable and entertaining, and she worked particularly well in partnership with Khashoggi, creating a strong comedic dynamic.

Craig Lee-Jones as Khashoggi brought a high level of commitment to the role, delivering a humorous and engaging performance. While there were slight vocal limitations, his energy and interaction with other cast members more than compensated, resulting in an excellent performance.

Anna Shipley’s Oz was a highlight of the evening, with stunning vocals and a beautifully delivered rendition of “No One But You” that held the audience in complete silence. Her performance was emotionally resonant, particularly in moments of connection with Brit, and she brought a strong stage presence to the role.

Chris Barry-Doyle as Brit offered a well-rounded performance, combining strong vocals with effective physical comedy. His relationship with Oz felt genuine and added warmth to the production.

Sam Eggins as Buddy provided excellent comic relief, fully committing to the role and maintaining strong characterisation throughout. His performance was consistently entertaining, with the “bike” scene proving a particular highlight.

Overall, the principals were well cast and worked cohesively as an ensemble, creating believable relationships and maintaining strong engagement throughout.

In summary, this was an enjoyable and visually impressive production with a number of standout performances and strong technical elements. While the minimalist staging and large cast occasionally impacted clarity and cohesion, the production’s energy and commitment ensured an entertaining evening.

Thank you to Zodiac Theatre Group for the invite to the show, and I wish them to best of luck with their next production.

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