We Will Rock You

Mossley’s production of We Will Rock You delivered a vibrant, high-energy night of theatre, blending the magic of Queen’s legendary catalogue with a dynamic cast and a visual spectacle that often felt closer to a live rock concert than a traditional stage show. The staging and visuals as the audience entered played into that feeling and from the moment the performance began, the atmosphere buzzed with anticipation, it was promising an evening packed with powerful music, drama and laughter and it largely delivered on all fronts.

At the heart of the production were a series of standout performances. Alex Cohen brought warmth and humour to Galileo, making him instantly likeable and an easy character to root for. Opposite him, Rosie Plummer’s Scaramouche was a true vocal powerhouse; her comedic timing was razor-sharp, landing every joke with precision while never compromising her commanding musicality. Her opening number blew the audience away. Katherine Farrow gave a highly watchable turn as Oz, delivering a beautifully sung and emotionally engaging rendition of Only the Good Die Young. Meanwhile, Isaac Brooks infused Brit with infectious energy, offering a confident and musically solid performance throughout. This pairing was very believable and the affection and support the characters felt for each other was palpable and evident in every moment they shared the stage.

In opposition to the Bohemian resistance was an effortlessly cool Killer Queen, with Ochi Oday exuding both presence and a powerful rock voice that cut through the numbers with ease and a physicality that was spot on for the character. Ian Bennett’s Khashoggi struck the perfect balance of authoritarian menace and sardonic wit. Martyn Preston, the Bohemian sage, made Buddy an endearing and consistently funny presence, drawing plenty of audience affection.

The Gaga Girls, Molly-Mae France, Chloe Hewitt, Phoebe Hewitt and River Connel brought spirit and the correct amount of mean girl energy and worked beautifully cohesively with each other.  

Musically, the production was driven by a fabulous live band under the musical direction of Paul Firth and conductorship of John Barry, that underscored the show with intensity and flair. At times, the sound soared so powerfully that it slightly overpowered the performers. I suppose this could be said to add to the authentic rock concert feel but it was a shame to miss some vocals and the off stage singing needed in this show. One minor distraction came during One Vision, where a noticeable metronome-like sound disrupted the audience’s immersion. Nevertheless, the band remained a major highlight, maintaining energy and momentum throughout.

Visually, the lighting design and digital screen work were striking, creating dynamic backdrops that enhanced the mood and scale of each scene. The interplay between lighting and projection gave the show a larger-than-life quality, although there were occasional moments where performers were left in shadow, which slightly diminished the overall slickness of this element of the show.

Direction and staging, by Lee Brennan, were strong, guiding the cast confidently through the dialogue sections, some great directorial choices were made that helped comedy engagement and highlight relationships. The work on pace, diction and modulation kept the scenes bouncing along as did the stage geography, keeping it visually interesting and maintaining the high energy We Will Rock You requires.  The choreography, created by Simon Fitzpatrick was packed with a wide variety of complex movements, rich with intricate and varied movement, with very little repetition. An undoubtedly challenging feat for the performers, but one that resulted in a dynamic and captivating spectacle. However, the structure of the piece sometimes felt uneven, with the scene transition pacing interrupted by noticeable gaps. These pauses were occasionally filled by off-stage whispers, likely picked up by live microphones, which momentarily broke the theatrical illusion. Each element was impressive and well thought through, the scenes, musical numbers, technical elements but, as a whole, felt a little discombobulated. Which slightly detracted from the overall otherwise high polish of this wonderful show.

Despite the minor shortcomings, Mossley’s We Will Rock You stands as a thrilling and entertaining production. With its brilliant lead performances, outstanding vocals, and genuinely funny and heartfelt moments, it offered an exhilarating experience that delighted the audience immensely.

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