We Will Rock You

From the moment WADS Youth took to the stage, it was clear that this was a company determined not merely to follow up their 2025 NODA East Award-winning success, but to build on it with confidence, energy and ambition. With their production of We Will Rock You, they had a great deal to live up to. They did not disappoint.

At present, a number of groups are taking on We Will Rock You, and this was my first time seeing the show. I knew it was a jukebox musical built around Queen’s greatest hits and, being honest, while the music itself is undeniably great, the script is not my favourite. The links used to bring the songs and storyline together can feel far too tenuous. I found myself looking at the list of songs and playing a mental game of wondering how on earth the next number could be woven into the plot. Yet where the material itself occasionally strained, WADS Youth injected it with such a pace, commitment and real energy that I could overlook the cringe of the script.

The set was suitably dystopian, constructed from corrugated sheets hung in different ways around the stage, with several different levels, including a six-foot platform at the back. I particularly liked the very quick, seamless transformation between the basic set and the graffiti set, achieved by the simple hanging of four large pieces at the back for Heartbreak Hotel. A common challenge for this show is the need for a motorbike on stage, and this was handled well, with the production making light of the fact that the stage crew needed to bring it on and take it off. It may not have been a Harley Davidson (you should have asked to borrow mine!), but it was nevertheless impressive all the same.

With 30 performers on stage, with the youngest aged [10] and the oldest [20], the production had real scale. This is one of those musicals that offers a wonderful opportunity for lots of people to get fully involved, and when the stage was full of vibrant costumes it looked impressive. The costumes throughout were very good, from the all-silver outfits at the outset to the array of costumes depicting different famous musicians through the eras.

Throughout, the ensemble vocals were strong, and everyone clearly gave their all to the production. The cast brought bags of energy and had the audience clapping and joining in at all the right moments. I thought that, in places, some of the choreography was perhaps a little too complicated. When the entire cast was wearing a homogenous costume, for example all dressed in silver, it became easier to see those who were slightly out of sync. That said, it was all still very good, but it did make the occasional lack of synchronisation more apparent.

Among the principal performances, there was much to enjoy. This group is certainly not short of talent. As the duo of Oz and Brit, Phoebe and Elliot made a memorable pairing. Phoebe’s vocals, as always, shone through, while Elliot’s commitment to the character of the rogue wannabe rock star was infectious. Bailey’s portrayal of Buddy was very funny, creating a convincing hippy, while Leyah’s Killer Queen was appropriately threatening. I also loved Joshua’s interpretation of Kashoggi; very Matrix-inspired, with a commanding presence on stage and a nice bit of sass.

At the heart of the production, however, were Toni as Galileo and Courtney as Scaramouche. Toni as Galileo brought a great rasp to her vocals, was able to hit all the Freddie Mercury notes, maintained great energy throughout, and interacted well with the audience, drawing them into the journey. Hats off, though, to Courtney as Scaramouche: the accent, the comic timing in the dialogue, the body language, and the vocals were incredible. A star in the making.

All in all, this was far more than another successful show for WADS Youth; it was a confident, high-energy production that celebrated the talent, commitment and dedication of the whole company. Everyone involved should be enormously proud of what they achieved. WADS Youth proved once again that they are a force to be reckoned with — well done to all!

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