We Will Rock You

We Will Rock You is a musical about rebellion, identity, and the power of music to unite people in the face of oppression. Set in a dystopian future where real instruments are banned and creativity is outlawed; the story follows two unlikely heroes who dare to dream of a world where rock ’n’ roll lives again. South Manchester AOS embraced this spirit wholeheartedly, delivering a production full of energy, humour, and heart.

Taking to our seats in the Z‑Arts Theatre, we were greeted by an open stage setting washed in atmospheric tones, with ambient music humming in the background to ease us into the world of Globalsoft. The stage was intentionally exposed, almost industrial, with a minimalist arrangement of platforms and individual projection screens strategically placed across the back. This stripped‑back aesthetic immediately signalled that the company were leaning into the raw, rebellious nature of the show rather than relying on spectacle. It was a choice that paid off. The simplicity of the staging, paired with clever use of projections, meant the audience’s attention was drawn directly to the characters, their relationships, and the story’s beating heart, the fight for individuality in a world ruled by conformity.

The projections themselves were used sparingly but effectively, shifting from neon‑lit cityscapes to glitching digital patterns that mirrored the oppressive control of Globalsoft. I admired how the production resisted the temptation to overload the visuals; instead, the design team trusted the performers to carry the narrative. This was also very similar to the set used, minimalistic but effective. It made the emotional beats clearer, the humour sharper, and the musical numbers more character‑driven.

I did have a slight issue with one of the raised platforms used early in the show. A supporting leg appeared slightly buckled, causing a momentary flicker of panic as a performer stepped onto it. However, the stagecraft from the performer and supporting performer was exemplary, quick thinking, steadying themselves, adjusting their weight, and continuing the scene without hesitation. It was a reminder that live theatre is unpredictable, but professionalism is what transforms a potential mishap into a seamless moment.

Costumes in We Will Rock You can easily fall into the trap of looking too similar, leather, denim, studs, and distressed fabrics everywhere. But South Manchester AOS delivered a wardrobe that felt unified without being repetitive. Each character had a distinct silhouette, from the sleek, corporate sharpness of Globalsoft to the chaotic, colourful Bohemians. The Killer Queen’s outfits shimmered with metallic accents, Scaramouche’s inspired look was sharp and expressive, and the ensemble’s costumes cleverly blended futuristic monotony with hints of individuality breaking through. It was clear that thought had gone into every item of costume.

Some say this musical requires strong leads. They’re not wrong. But it also demands a tight, disciplined ensemble, and South Manchester certainly had that. Their authentic interactions, their ability to watch each other through peripheral vision, and their commitment to unison choreography made every group number land with impact. The harmonies in Somebody to Love and One Vision were particularly impressive, layered, balanced, and confidently delivered.

Galileo, played by Matt McGoldison, brought a thoughtful, almost introspective quality to the role. Early vocal moments showed slight signs of warming up, but once he settled, his voice soared. Matt’s ability to belt while maintaining control at the top of his range grew stronger throughout the show, culminating beautifully in We Are the Champions. His chemistry with Scaramouche was engaging, especially in their duets, though a few lines of dialogue occasionally lost some characterisation, creating small dips in momentum. Even so, Matt’s portrayal captured Galileo’s confusion, hope, and eventual confidence with sincerity. Scaramouche, played by Natalie Hayes, was outstanding. Her vocals were effortless, cutting through the theatre with clarity and attitude. She commanded the stage in Somebody to Love, delivering both humour and emotional depth. Her characterisation remained consistent throughout, sharp, witty, and wonderfully defiant. In No‑One But You, Natalie’s performance was heartfelt, her voice tender yet powerful, creating one of the evening’s most moving moments.

Killer Queen, played by Katie Johnson, was powerful and attentive. Katie’s vocals were also effortless, gliding through Another One Bites the Dust with confidence and flair. I did wish for a touch more risk in her characterisation, Killer Queen is a role that thrives on extravagance and danger, and at times the portrayal felt a little safe. However, her vocal command and presence ensured the character remained a formidable force throughout. Khashoggi, played by Bobby Small, was delightfully sinister. His physicality and vocal delivery leaned into the absurdity of the character, making him both threatening and entertaining. I wasn’t entirely convinced by a modern suit costume choice, it felt slightly out of sync with the otherwise heightened aesthetic, but Bobby’s performance more than compensated.

Buddy, played by Ian Chadderton, was pure genius. Ian’s characterisation was spot‑on, capturing Buddy’s eccentricity, warmth, and philosophical musings with ease. His consistency kept the audience fully engaged, and his playful manipulation of pace, pitch, and comedic timing made every scene he appeared in a joy to watch. Oz (Freia Reidel‑Fisher) and Brit (Isaac Brooks) were brilliant to watch. Their energy on stage was infectious, especially during I Want It All. Their vocals blended beautifully, demonstrating clear evidence of rehearsal time spent shaping harmonies and balancing tone. They brought a rebellious spark to the Bohemians that lifted every scene they were in.

Musical direction by Chris Addington was once again excellent. Chris ensured that layered vocals added richness without ever detracting from the storytelling. The balance between soloists and ensemble was carefully managed, allowing the score’s complexity to shine.Sound by John Ormerod was consistent throughout, with clear mixing and well‑judged levels that supported both dialogue and vocals. Lighting by Ethan Osborn was spot‑on, particularly in moments where isolation or intensity were needed, sharp beams cutting through darkness, pulsing colours during rock sequences, and softer washes during emotional beats.

Overall, this was a solid, confident production of We Will Rock You from South Manchester AOS, full of heart, talent, and the unmistakable spirit of rock ’n’ roll, thank you once again for your kind invitation and hospitality.

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