We Will Rock You

The Show

Audiences arriving at Melton Theatre for TMMTC’s We Will Rock You were greeted by a rock-themed foyer, with lots of related merchandise. An appropriate welcome. This musical is all about Queen’s music. That is the show. The story itself is fairly thin, based on a supposed future iPlanet society of automatons ruled by a robotic ‘Emperor’ determined to crush resistance from the surviving devotees of the individualistic values of a bygone age. In this case, the ‘age’ of rock music.

The story is built around the triumph not only of good over evil, like most musicals, but in this story traditional values over technological domination.

The original production of We Will Rock You, in London's West End in 2002, was initially “panned” by critics, mainly because of its storyline. However, the show enjoyed a successful West End run and numerous major entertainment awards. Despite the superficial plot, the characters provide ample opportunity for vocal, dramatic and dancing skills and in portraying relationships between various roles. But it's Queen’s music that gives the show its energy.

The Cast

In the lead role of Galileo Figaro, James Barlow provided a pleasing characterisation throughout. HIs strong singing voice and wide vocal range, his acting, physical appearance and stage movement suited the part well. James’ singing was nowhere more evident than in the show’s finale, where he gave us the full Freddie Mercury delivery.

The other main character, who becomes the like-minded friend (and eventually romantic partner) of Galileo, is Scaramouche, the female lead played here by Vikki Taylor. Vikki, appearing in costume appropriate to her 20th century Goth dedication, looked good, and also had a very strong voice. Her opening solo “Somebody to Love” was sung with extreme forcefulness, to the extent that I wondered if her voice would last the performance. Pleasingly, it did.

The “villains” of the production are Killer Queen (Tash Bailey), and Head of the Global Police, Khashoggi, (Ryan Green). Tash was appropriately menacing as the evil controller of iPlanet, and cruelly entertaining particularly in her well-delivered ‘Another One Bites the Dust’.

Ryan Green, as Khashoggi, in a subtle, polished performance was suitably threatening as Killer Queen's henchman. His Second Act performance of ‘Seven Seas of Rhye’, where the brain-drained Bohemians are transported, demonstrated Ryan's dramatic and vocal skills.

The show's comedy is provided in the main by the couple leading the Bohemian Resistance, Britney played by Josh Gallagher, and Ozzy by Hannah Castledine. Josh and Hannah provided a contrast to the more idealistic Galileo and Scaramouche, with some strong ‘over the top’ enthusiasm for the preservation of their ‘rock age’ cause. These four provided a nicely sung and choreographed ‘Crazy Little Thing Called Love’ quartet.

The other comedy part was Buddy, the Bohemians’ archivist, determined to decipher the records to discover the truth of the long-lost Rock Age. This part was played with exuberance by Andrew Hull, who also gave full entertainment in leading the company in ‘These Are the Days of Our Lives’.

The principal characters were well supported by a strong ensemble, comprising iPlanet’s Automaton Militia and the Bohemian Resistance. The individual Bohemians had names redolent of music stars of the late 20th century. Interestingly, in various productions of this show these names vary, and are often chosen by the cast members themselves.

The Production

The impact of this fast-moving musical depends on effective Direction. This was ably achieved under experienced Director Bernice Rowan and Assistant Dan Atkinson. The pace of the performance was maintained throughout and transitions from one scene to another effectively achieved. The action was well supported technically by dramatic Lighting, controlled by James Pritchard, well balanced Sound managed by Neil Wesley, and ingenious background projection of scenes, moving and changing throughout the show. Congratulations to Stage Manager Trevor Adams and his team for the smooth technical support.

The all-important musical element of the show was provided by an authentic band under Musical Director Reece Crane who kept the music tight, providing solid direction to principal and chorus vocalists. Particular mention of the band’s guitarists Lex Forrester and Chris Loach, (Lex came on stage to provide some virtuoso lead guitar during the Bohemian Rhapsody finale), and bass guitar Jon Heywood whose low notes shook the auditorium.

This was a fast-moving show, with dance work for all, well drilled by Choreographer Victoria Adams. Colour was enhanced by an excellent costume set, under the supervision of Charlotte Broomfield.

Production, Musical Direction, Choreography and sheer company enthusiasm provided a rousing finale, with a medley of three of Queen’s greatest numbers, energetically performed and enthusiastically sung. The international success of We Will Rock You, despite its relatively superficial storyline, speaks for itself. This is one musical where the familiarity of the music carries the show. It needs to be done well, and TMMTC did it justice here. The production demonstrated to a 2020s audience the power of Queen’s music.

 

The informative programme refers to the fact that Melton Theatre is under threat of closure. This would be extremely unfortunate both for this talented company and no doubt for the town itself. TMMTC expect to present Footloose there in October but at present have no certainty beyond that. I hope a reprieve might emerge that will enable this company, and others, to continue providing live entertainment for enjoyment by local people.

My thanks to Chair Lauren Cressey for inviting my wife and me to the show. We look forward to seeing her at Footloose, at Melton Theatre, in October.

 

Colin Blackler

Noda                                April 2026

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