We Will Rock You

Accrington Theatre Group presented We Will Rock You – The Musical by Queen and Ben Elton at the Pendle Hippodrome Theatre with a confident, good‑humoured approach that allowed the story, music, and ensemble energy to shine. The production settled quickly into its rhythm, offering clear storytelling, smooth pacing, and an obvious sense of enjoyment from the whole cast.

Set in a future where individuality has been erased and live music outlawed, the show follows Galileo, a young dreamer plagued by fragments of forgotten lyrics, and Scaramouche, who refuses to conform. Together they join the Bohemians, a rebellious group determined to rediscover real music and challenge the rule of Globalsoft.

Director Connal O’Reilly kept the production moving with a brisk, engaging pace. Scenes flowed smoothly, transitions were clean, and the leading characters, shaped with clear intention. Connal leaned into the familiar Matrix‑style aesthetic for the Globalsoft world, giving it a crisp, controlled visual identity. The use of projections added depth and atmosphere, often integrating the cast directly into the imagery. A particularly enjoyable touch was the projection of song lyrics onto the side walls of the theatre, allowing the audience to join in if they wished. The humour of the script was handled well, with lines delivered cleanly and well‑judged timing, contributing to a production that felt slick and confident.

Choreography by Rhiannon Yates and Autumn Bibby was strong and purposeful. Each group moved in a way that reflected their place in the story: the Globalsoft enforcers were sharp and regimented, the Ga Ga Girls moved with unsettling synchronisation, and the Bohemians enjoyed a looser, more expressive physicality. Several sequences stood out, particularly the introduction of Killer Queen, swept onstage atop a chaise langue by her minions in a deliberately exaggerated, sultry routine that set her tone at once. Radio Ga Ga was another highlight, with the monochrome costuming reinforcing the uniformity of Globalsoft’s world. Across the show, the choreography supported the narrative without overwhelming it, giving the cast clear, character‑driven movement.

Musical Director Grace Harman delivered a confident musical performance from the company. Ensemble vocals were strong and well‑balanced, producing a full, unified sound that supported the larger musical moments. Who Wants to Live Forever was beautifully shaped, allowing the emotion of the number to come through without overstatement. Grace ensured that both principals and ensemble were secure and musically cohesive, handling Queen’s demanding score with clarity and assurance.

Lighting by Paddy Keane played a significant part in shaping the production’s atmosphere. Softer blues supported the opening sequences, while pinks and greens added variety as the story developed. The green laser effects were particularly striking, pinning characters into place and giving Globalsoft’s world an added sense of control. Flashes of red during Killer Queen’s scenes were especially effective, cutting sharply

through the palette and heightening her presence. The spot work in Seven Seas of Rye was another highlight, clean and well‑focused. Across the show, lighting was used not only for illumination but as a dramatic tool.

Sound and projection, run by Chris Lawton, were consistently strong. Projections were sharply focused with no delays, integrating smoothly with the action. Sound quality remained clear throughout, with no mic drops, feedback or unwanted open microphones. Musical cues were perfectly timed, vocals were well balanced, and sound effects were prompt and skilfully placed.

Props, set and stage management, led by Laura Kettlewell, were well handled. With a wide range of props used, all chosen with care and either era‑proper or instantly recognisable. The motorbike was a particularly enjoyable touch, adding character and scale to the Bohemian scenes. Laura’s work as Stage Manager ensured that everything appeared swiftly and in the right place, with scene changes happening quietly in the background without drawing the eye. The six steps rising from the back of the stage towards the projection screen were an excellent feature, giving the space height and variety and used confidently by the cast. The Bohemians’ area, complete with scruffy makeshift seating, created a convincing sense of a worn, underground hangout.

Costumes by Jenny May O’Reilly and the cast looked strong throughout, helping to define each group clearly. The black‑and‑white school‑uniform styling of the Ga Ga Girls was particularly effective: none identical, yet all firmly within the same regimented palette, reinforcing their lack of individuality. Their short, pale bobbed wigs added to this controlled aesthetic. Khashoggi’s long black leather coat and dark glasses gave him immediate authority, while the Bohemians appeared in an array of denim, colour, and mixed styles, capturing the freedom they long for. Killer Queen’s tight leather corset and long red wig created a fierce, commanding presence, supported by her dancers in striking black outfits, especially during Fat Bottomed Girls with the wide lacing detail at the hips. A special mention must go to Tony Cousins, whose Madonna‑inspired top, complete with oversized cone details, teamed with a kilt, had the audience laughing instantly.

Karl Pilkington gave an impressive performance as Galileo, handling the vocal demands with confidence and delivering his comic moments with excellent timing. When he delivered Freddie’s signature “deyoh,” followed by a brief, chaotic fit, it landed right with the audience, causing laughter throughout the auditorium. He managed a substantial amount of dialogue securely, and his duets were a real strength, particularly Who Wants to Live Forever, which was beautifully sung and full of emotion.

Chloe Bedford was exceptionally strong as Scaramouche, delivering confident vocals and a striking emotional range. I Want to Break Free was full of attitude and clarity, while Under Pressure highlighted her ability to blend beautifully with her scene partners.

Chloe brought excellent stage presence, sharp comic instincts, and natural chemistry with the rest of the cast.

Peter Norris gave an excellent performance as Khashogi, bringing a sinister, imposing presence to the role. His delivery had a dark, controlled stillness, and his vocals in Seven Seas of Rye were particularly impressive. His comic timing was also strong, adding sharp humour without breaking the character’s menace.

Jenny- May O’Reilly was a formidable Killer Queen, fierce, commanding, and full of attitude. Fat Bottomed Girls was a standout, performed with real power. Her towering boots and long red wig gave her an imposing silhouette, and vocally she was strong throughout.

Connal O’Reilly was very funny as Brit, bringing superb comic timing and energetic physicality. His chemistry with Emma Lomax as Oz was excellent, the pair bouncing off each other naturally and delivering lively, humorous scenes and strong duets.

Mark Wood was very funny as Buddy, playing him as a gentle hippie and dreamer with a spaced‑out charm. His comic delivery landed consistently, and he has a lovely tenor voice, hitting his notes cleanly every time.

The ensemble were strong throughout, giving the production constant energy and focus. Vocally they were excellent, producing a confident, blended sound, and their dance work was committed and characterful. Their enthusiasm added a great deal to the overall impact of the show.

This was a strong production from Accrington Theatre Group, and it was clear that the entire cast were enjoying the show they were presenting. The finale, Bohemian Rhapsody, was a particular highlight, confidently started by the cast before the audience were encouraged to sing along, creating a lively, communal ending. A high‑energy, good‑humoured and thoroughly enjoyable conclusion to a production filled with enthusiasm and strong performances. I would like to thank everyone at Accrington Theatre Group and the front of house at Pendle Hippodrome for the warm hospitality throughout the evening.

 

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