We Will Rock You

We Will Rock You, is a jukebox rock musical written by comedian Ben Elton set against the backdrop of Queen songs.  It presents a disturbing reality of a future earth run by state-controlled computers, where live music is banned, individuality punished and only synthetic pop music is permitted.   Director Vanessa Smith and her creative team, take us on a high-octane power ride which leaves us gasping for breath and shouting more - but also leaves us with an uncomfortable truth – could this be an echo of our own future?

On entering the Majestic Theatre, we were scanned by cast members dressed as employees of Globalsoft Corporation a ‘1984’ style secret police force, who ensure that everyone adheres to the strict rules.  I was delighted to see a live band, led by Musical Director David Beer, positioned in the boxes so they could be in full view of the audience.  There we also costumed front of house staff and other cast members selling raffle tickets and programmes creating an immersive experience. 

Buddy (Holly and The Crickets) tells the audience bitterly how the kids had uploaded their souls to the internet as manufactured music took the place of real instruments resulting in the eventual total ban on live music.  There is, however, a flame of resistance, as clutching a battered VHS tape, he tells us of lost ancient scrolls providing hope for humanity.   

Wayne Shutt was Buddy, a greying hippy rocker and keeper of the flame with confused memories of the old times.  I loved his mispronunciation of words such as television and the way he stroked his precious VHS like Gollom calling it his ‘vibe’.  He had good, strong vocals which he sang in character leading the wistful These Are The Days of Our Lives and a witty persona shown in his banter with Galileo and Scaramouche especially in the motorbike scene.

Our hero is a glasses wearing geeky guy who rejects his state assigned ID and renames himself Galileo Figaro. He has been plagued with snippets of lyrics and music that makes no sense to him. These strange quirks quickly bring him to the attention of his silver clad teacher and stickler for the rules (Jane Shelley) who in turn reports him to Commander Khashoggi, the GlobalSoft Corporation enforcer and punisher of rebels and outliers. 

Ollie Ward played the manipulative Khashoggi with wit and camp villainy. I loved the gleeful way he tortured the captured Bohemian rebels spitting out the alien lyrics with pure disgust. A powerful singer, his delivery and diction was excellent especially in Seven Seas of Rhye and his body language and facial expressions perfectly matched his character. I loved his relationship with the Killer Queen sneering at the Bohemians and trying to upstage each other with their evil laughs.

Sam Taylor was astounding as reluctant hero Galileo, creating an assuming character as normal guy confused by the constant chatter of unknown lyrics from popstars of the past totally unaware of the significance of his true destiny.  He proved he was more than a match for the rock ballads delivering the iconic lyrics with powerful soaring vocals in solos and duets with Scaramouche, leading the audience to join in with Freddie’s classic call and response.    I loved his developing relationship with the spiky Scaramouche especially their love scene where he kept his socks on and his wimpish squeals as she tried to remove his tracking chip! His character changed as the influence of Freddie affected his confidence and his role as the saviour and liberator was revealed proving the rock soul under the outwardly geeky appearance.  

In this world, uniformity is key, but one girl stubbornly refuses to fit in with the other GaGa girls with their fixed smiles, plastic clothes and dayglo hairstyles, preferring to wear grungy black clothes and dye her hair vivid violet.  This individuality is a threat to the status quo, so she finds herself in the rehabilitation centre where she meets Galileo.  

Emily Green, in her debut performance with the society, was fabulous in the role of non-conformist GaGa girl renamed Scaramouche by Galileo prompting her to acidly observe she would be known as ‘scary bush.’  Emily created a feisty no-nonsense goth character appearing outwardly confident but protecting her insecurities and low self-image with biting wit and cutting sarcasm wearing her humour like armour.   I loved her witty banter with Galileo exerting her girl power and rejecting his newfound misogynistic rock terminology, particularly during their break-up, as they scornfully sparried with each other despite the obvious chemistry between them.  Emily had incredible vocals delivering her delivery of Someone to Love and duets with Galileo with power and control and real rock attitude. 

The psycho controller and CEO of this manufactured world is a hybrid cyberspace control freak known as the Killer Queen, who exists as an internet avatar her face dominating every video screen. Played by Lottie Noble, she strutted confidently around the stage in her sky-high power platform shoes showing exactly who was in charge.  I loved the way she tormented her helpless captive with a lead around his neck, dominatrix style and showcased her impressive dance skills and powerhouse vocals. Her high kick was incredible especially in those heels!  Lottie oozed petulance and megalomania as she tried desperately to keep control of her created kingdom destroying anyone who failed to appease her.

Among the free-spirited Bohemians were the hyper charged couple Brit(ney Spears) played by Jamie Savage and girlfriend Oz(zy Osbourne), Rowan Houghton.  Dressed in grunge rock gear (I loved Jamie’s half-tartan trousers!) together they delivered a strong duet to I Want It All including a poignant tribute, No-One But Yousung beautifully by Rowan, dedicated to all the departed rockstars taken too soon including Freddie Mercury himself.  

Realising that Galileo could be ‘the dreamer’ they have been waiting for, the couple take them to the Heartbreak Hotel deep below the earth, populated by a host of characters named after long dead pop stars such as Lady GaGa, Boy George and Mick Jagger.  They expressed their rebellion through their clothes wearing an assortment of hippy and punk wigs, ripped jeans and leather clothes and a striking diamante pointy conical bra Madonna style. I liked the way the ensemble used the two-level staging to good effect, so the stage never appeared to be overcrowded.  

The ensemble was also used effectively throughout as Teen Queens, GaGa Kids and as saber-sporting secret police.  Choreography, designed and created by Adele Beaumont was performed by the ensemble with dance routines including an automaton jerky style, reflecting the regimented control of IPlanet.  Costumes and wigs and make-up (Yvonne Smith and Vanessa Smith) were inventive and applicable to the futuristic theme of the show with plastic dresses and metallic wigs for the Teen Queens and individual rock/pop costumes for the Bohemians. I loved the Killer Queen’s wardrobe of vibrant primary-coloured trouser suits and those vertiginous heels, accompanied by minions in executive power suits and matching high-top ponytails and Scaramouche’s shiny red leather dress symbolising her newfound confidence. 

The band wittily named ‘Shagileo’ were led by Musical Director, David Beer who was in constant view and I loved his enthusiasm as he gleefully heckled the Killer Queen.  David, whose resume reads like every musician’s dream, has also had the privilege of working directly with both Brian May and Roger Taylor in putting together the UK tour of the show so this production was in safe hands.  I loved the way the audience were encouraged to join in developing into a live rock concert as they clapped along - our voices becoming the echoes of the past.  The moment when guitarist Jamie Nowell stood up to deliver his solo to Bohemian Rhapsody with the cast bowing in Wayne’s World ‘we’re not worthy style’ was a lovely touch. 

A special mention to the incredible lighting effects created by Lighting Director, Vinnie Hemmings which elevated this show to the level of a west end production with a rock concert vibe. I was mesmerised by the constantly moving, ever changing lights and lasers used to create atmosphere and ambience.  Also, the enormous video screens provided by Luke Thomson and the graphics by Luke Wade at Liveworks, which pulsated and glitched, perfectly matching the computer-controlled theme of the show.  The displayed backdrops not only told the story but also included personal touches. The rubble strewn background featured in one of the scenes was Retford featuring the broken shell of the Majestic Theatre itself with its iconic clock tower. I especially loved the PacMan style computer game as the Killer Queen exterminated Khashoggi his life force bar visibly waning with every vicious blow. 

Congratulations Vanessa, you and everyone one involved in bringing this show to the stage, have created an inventive witty show with the music of Queen at its beating heart. Your attention to detail was obvious from the chunky ‘K’ shaped earrings of the Killer Queen to the effective use of the staging so your cast could shine. 

I am also pleased to confirm that the programme fulfils the criteria and will be entered into the 2026 competition. 

It was a pleasure to meet Vanessa, David and some of the cast after the show and the legendary President of the society, the wonderful Betty Teanby.  Thank you to Vanessa for looking after us and David and I look forward to seeing Come from Away in May 2027. 

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