We Will Rock You

It was a pleasure to attend Blackpool & Fylde Light Opera Company’s (BFLOC) production of We Will Rock You at the beautiful Grand Theatre, Blackpool, and I would like to thank Chairperson Rhiannon Jones for the warm welcome on the evening. The venue itself added so much to the atmosphere of the performance. The Grand is a theatre with history, architectural beauty and a strong connection to the local community. Having once been under threat of demolition, it is now a much-loved performance space, and it is easy to understand why amateur societies feel privileged to perform there. To stand on that stage, surrounded by such heritage, must be incredibly inspiring for any amateur performer. With the auditorium looking very well filled, there was a clear sense of occasion before the show even began.

We Will Rock You, with music and lyrics by Queen and book by Ben Elton, is a high-energy jukebox musical set in a future where individuality is suppressed, live music has been silenced, and young rebels fight to restore freedom, creativity and rock music. This can be a difficult show to get right. It needs humour, pace, clear storytelling, rock-concert energy and believable characters, while also meeting the audience’s huge expectations for Queen’s iconic music. BFLOC delivered an excellent production: bold, ambitious, funny, visually exciting, and full of commitment from a very large cast.

Director Howard Raw ensured that the dialogue and comedy were clear, the pacing was strong, and the production never felt as though it was simply moving from one Queen song to the next. The humour landed well, but the emotional thread of the story was also maintained. This is important in We Will Rock You, because underneath the jokes and musical references are strong themes of individuality, self-expression, friendship, rebellion against conformity, and the power of music to bring people together. A good director in amateur theatre must do far more than place people on stage. They must create a clear vision, build confidence, manage different levels of experience, shape pace, support character work, control stage traffic, and make sure a large company works as one. Howard Raw achieved all of this. The staging and blocking were very well handled, particularly considering the size of the cast. Scenes moved smoothly, focus was clear, and the production flowed well. I also noticed Howard sitting in one of the boxes making notes during the performance, which spoke volumes about his dedication and continued commitment to the production. This was a huge, ambitious show, and he carried it off with assurance.

The principal performances were very strong. Rowan Keane gave an excellent performance as Galileo Figaro, a demanding role. Galileo is the Dreamer: the young outsider who hears lyrics in his head and becomes central to the prophecy of restoring music. Audiences naturally arrive with high expectations for this role because of the connection to Queen, Freddie Mercury, and the vocal demands of the score. Rowan did not try to imitate Freddie, which was the right choice; instead, he created his own believable Galileo while still delivering the necessary rock energy and vocal stamina. His singing was secure and powerful, and he sustained the role impressively throughout the evening.

Kayla Meades was also excellent as Scaramouche. This is a deceptively difficult role. Scaramouche needs sarcasm, intelligence, comic timing, vulnerability and emotional truth, as well as a strong vocal ability. She must be sharp and defensive at first but still allow the audience to see the warmth and passion underneath. Kayla, although a young performer, created a completely believable character. Her relationship with Galileo developed naturally and their partnership was easy to invest in. Her solo, “Somebody to Love,” was exceptional. This is a very difficult number because it requires not only range and power, but also control, phrasing and emotional connection. Kayla handled it superbly and made it one of the standout vocal moments of the show.

Lauren Rooney gave a strong performance as Killer Queen, the formidable leader of Globalsoft. The role requires authority, glamour, comic menace and vocal confidence. Killer Queen must dominate the stage without becoming one-dimensional, and Lauren brought the necessary presence and control to the part. She clearly understood the character’s power and relished the villainy, giving the production a strong central antagonist.

Mike Donnellon was very good as Buddy. This role acts as a keeper of the old musical knowledge, a former librarian figure who helps guide Galileo and Scaramouche towards the lost music. It needs warmth, eccentricity and comic timing, because Buddy carries a lot of important story information. Mike portrayed him very well, giving the character humour and heart without losing the importance of his role within the plot.

A real standout for me was Taylor Cheeseman as Kashoggi. This young actor is extremely talented in every respect. Kashoggi is Killer Queen’s enforcer, a character who needs authority, menace, physical confidence and strong stage presence. Taylor was a young performer playing an older, more powerful character, yet he was completely believable. His stage presence was excellent, his characterisation was detailed, and he commanded attention whenever he appeared.

Kaitlin Ward as Ozzy Osbourne and Christopher Eaves as Britney Spears were excellent. These characters are central Bohemian rebels and need great chemistry, humour, courage and rock-and-roll energy. Their partnership must feel lived-in and believable, and Kaitlin and Christopher achieved this beautifully. Their chemistry was exceptional, and both performers gave confident, energetic and well-characterised performances. They brought humour and sincerity to their scenes and helped make the Bohemian world feel alive.

The ensemble deserve credit. In a show of this scale, the ensemble are not simply background; they create the world of the production. They became Ga Ga Kids, Bohemians, rebels and corporate followers, often with quick changes of energy and style. There were too many ensemble members to mention individually, but they worked with great commitment. Group energy was strong, harmonies were excellent, dance precision was good, and background acting remained focused. The cast clearly worked together as a team, and that unity was one of the reasons the production felt so successful.

Vocally, this was an impressive evening. Queen’s music is iconic, and audiences know these songs extremely well. That creates pressure for both principals and ensemble, because the songs must feel recognisable while still belonging to the characters and story. The ensemble singing was excellent, with strong harmonies and a full, confident sound. With such a large cast on stage, it would have been easy for the vocals to lose clarity, but the company sounded secure, well rehearsed and musically focused. This was a real credit to George Baldwin’s work as Musical Director, as preparing a company of this size for a score as demanding as We Will Rock You is no small task. For the most part, diction and projection were good. There were occasional moments when dialogue over music was a little difficult to hear, but this was not a major issue and, overall, the sound was well managed. With a large cast, amplification and a live rock band, balance is always challenging, and most of the evening was clear and effective.

The band were excellent and played a major role in the success of the production. For We Will Rock You, the band is not just accompaniment; it is the heartbeat of the show. The audience expects the drive, power and excitement of Queen’s music, and this band delivered. George Baldwin, Musical Director and Keys 1, did a very strong job in leading the music. The big ensemble numbers had a full, exciting sound, reflecting careful preparation and strong musical leadership. George also achieved a very good balance between the band and the cast. In a production like this, the music has to have impact, but it must never overpower the storytelling, and for the most part this was handled very well. The tempos had energy without feeling rushed, the vocal entries were confident, and the musical transitions helped maintain the pace of the show. He clearly understood that this production needed to feel both like a musical and a rock concert, and he brought those two worlds together extremely well. His musical direction was a major part of why the production had such drive and confidence. He was joined by Joseph O’Brien on Keys 2, Jejune Chun on Guitar 1, Bob Tinsley on Guitar 2, Theo Tambourini-Kay on Bass, James Threlfall on Drums and Louis Reilly on Percussion. Having the band visible at the back of the stage added greatly to the atmosphere and reminded the audience that this was a true rock musical. Jejune Chun’s downstage guitar solo section in “Bohemian Rhapsody” deserves a special mention; it was a fantastic theatrical and musical moment.

Gemma Finbarr-Smith’s choreography was very good. Choreographing We Will Rock You is different from choreographing a traditional musical. The movement needs to combine rock-concert energy, stylised futuristic conformity, rebel attitude and musical theatre precision. It must look exciting without becoming too polished or losing its raw edge. Gemma’s choreography used the space well, gave the ensemble strong visual impact, and helped tell the story rather than simply filling time. The contrast between the controlled corporate world and the freer Bohemian energy was clear.

The excellent set created the perfect world for We Will Rock You. The industrial scaffolding, lighting structures, visible band, and large digital screen all worked together to create a futuristic, rebellious rock environment. Period, character, social status and symbolism were all considered: the slick Globalsoft world contrasted well with the rougher, more individual Bohemian identity. The digital screen was particularly impressive, one of the best I have seen on an amateur stage. It was used not just as decoration, but as an active storytelling tool. The sequence where Galileo, Scaramouche, Britney and Ozzy first head underground towards the Heartbreak Hotel was especially effective; the screen movement created a real sense of descent and transition, and the effect was excellent.

Lighting design by Jack Rodriguez supported the atmosphere very well, with strong rock-concert looks, moments of focus, and effective transitions. Lighting hire by Bright Lights UK, set hire by Dave D Events, sound supplied and sourced by Stuart Shawcross, and props supplied by Junction4 all contributed to a production that looked and sounded highly ambitious. The technical elements were well coordinated, and the backstage running of such a large show must have required significant organisation. Credit should also go to Deputy Stage Manager Lauren Craig, Prop Master Gill Windward, and the backstage team.

Costumes and wigs were good, especially considering the size of the cast and the number of different looks required. Costume and wig hire by Utopia, wardrobe curated and sourced by Suzanne Wilkinson, with wardrobe support from Anne MacLaren and Cheryl Fothergill, helped create a visually varied company where everyone looked individual. This was very important in a show about identity and nonconformity. Make-up was also very good, and the attention to detail across the production was evident. That level of detail is always a tribute to strong direction and a committed production team.

Audience engagement was superb. The audience were clearly enjoying themselves, and at times some members became very vocal in their encouragement and enjoyment of certain characters. The cast handled this like professionals and did not allow it to unsettle the performance. There was a real connection between stage and auditorium, which is exactly what this musical needs. By the time the company reached the finale, the atmosphere was electric. “Bohemian Rhapsody” was an epic ending to a great show and sent the audience out on a real high.

This was an excellent production of We Will Rock You. It was bold, funny, visually impressive, musically strong and full of commitment from everyone involved. Congratulations to Blackpool & Fylde Light Opera Company, Director Howard Raw, Musical Director George Baldwin, Choreographer Gemma Finbarr-Smith, the principals, ensemble, band, technical team, wardrobe, backstage crew and all volunteers. The company should be extremely proud of what they achieved on the Grand Theatre stage.

 

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