We Will Rock You - School Edition

Set in a dystopian future where individuality has been erased and music is controlled by the all-powerful Globalsoft corporation, We Will Rock You follows Galileo and Scaramouche as they search for freedom, identity, and the lost art of live rock music. Packed with the iconic songs of Queen, the show is both a celebration of musical rebellion and a story of self-expression, making it a particularly fitting choice for a youth company.

This was a brilliant production from Centre Stage Youth Theatre Company, and one that was clearly enjoyed by the audience, culminating in a well-deserved standing ovation. From the outset, it was evident that this was a company brimming with talent, with vocals standing out as the strongest element of the performance throughout.

Technically, the production was very strong. The lighting design was particularly effective, with creative use of circles helping to isolate and “trap” characters, reinforcing the themes of control and oppression. Costuming was another highlight, with a clear and well-executed distinction between the Bohemians and the inhabitants of Globalsoft. Attention to detail was evident here, especially in the uniformity of the ensemble as Globalsoft “minions,” which added to the overall cohesion of the visual storytelling.

The decision to work with minimal set proved to be a smart one. The use of a video wall backdrop was more than sufficient in establishing each location, and its high quality, combined with precise cueing, ensured that transitions were seamless. Scene changes were notably slick, aided by the absence of large set pieces to manoeuvre. The addition of staging levels using the stairs along the back of the stage worked very effectively to add dimension while also supporting entrances and exits. Smaller details, such as the use of old technology items at the front of the stage and the inclusion of a VCR and screen, helped to establish the dystopian world and added an extra layer of creativity.

Musically, the production excelled. Under the direction of Debs Stokes, the harmonies were consistently strong, and it was particularly impressive to hear such clean, tight vocals from a youth ensemble. The sound balance was well judged for what is an inherently rock-heavy score; it could easily have tipped into being overpowering, but instead remained clear and well-controlled throughout. All tracks and microphones were well cued, contributing to a polished overall sound.

Choreographically, Kim Woodall delivered a dynamic and varied piece of work, combining contemporary movement with more stylised, almost militaristic elements that suited the world of Globalsoft particularly well. While there were moments where the ensemble could have been tighter and more precise—especially in some of the Globalsoft numbers—the overall standard was high, and the choreography added energy and structure to the production.

From a directorial perspective, Jill Mason presented a clear vision of the piece, and the storytelling was easy to follow. However, there were moments where some of the movement from principal cast members felt unnecessary, particularly during dialogue and more intimate vocal sections. At times, this detracted slightly from the intention of the scenes, where stillness might have allowed the performances to land with greater impact.

The cast delivered a number of strong performances across the board. As Galileo, Paulo Thompson took on a demanding role with confidence. Vocally, he performed well, and he built a believable and engaging relationship with Scaramouche. There were moments where dialogue felt slightly rushed, which led to some lines being lost, but overall this was a solid and committed performance.

Annabelle Goodwin’s Scaramouche was a standout. Her vocals were outstanding, delivered with both power and control, and she brought a wonderful balance of rebellious energy and vulnerability to the role. Her comedic timing was excellent, often delivered with a dry humour that landed well with the audience, and she demonstrated strong character development throughout. Her performance of “Somebody to Love” was a particular highlight of the evening.

Rosey Pemberton commanded the stage as Killer Queen, delivering a performance that was both dominating and assured. With a strong stage presence and excellent vocals, she fully embodied the character, giving a polished and engaging portrayal.

Stanley Cruxton’s Khashoggi provided a strong supporting performance, capturing the essence of the villainous sidekick well. His characterisation and comedic moments were effective, and he worked well in partnership with Killer Queen.

Finley Hayes gave a confident performance as Buddy, bringing good physicality and energy to the role, along with some enjoyable comedic moments.

Eugene Millington’s Brit was very entertaining, with strong physical comedy and a believable relationship with Oz. His performance was engaging throughout, supported by good vocals and a clear understanding of the character.

Edie Phillips delivered a stunning performance as Oz, combining excellent vocals with a confident stage presence. “No One But You” was beautifully performed and stood out as one of the most memorable moments of the production. The chemistry between Oz and Brit was particularly effective, with both performers playing well off each other.

The ensemble worked well as a whole, particularly in the Bohemian scenes, where there was a strong sense of unity. Vocally, they were consistently impressive, with harmonies that were tight and well-balanced. However, there were moments where a higher level of energy and precision in the choreography would have elevated the overall impact, particularly in some of the larger numbers.

Among the musical highlights, “Radio Ga Ga” provided a strong and engaging opening, while “Headlong” stood out for its energy and the effective use of staging. “Another One Bites the Dust” was well performed, particularly by Killer Queen, though I feel this number called for the mic to be turned up slightly in the lower vocal registers. The finale, “Bohemian Rhapsody,” was filled with energy and showcased the full company well, they did an amazing job with such a hard song. I would have liked to see the same energy levels in some of the other numbers throughout the show.

Overall, this was a highly enjoyable and well-executed production. The strength of the vocals across the company was particularly noteworthy, and there is clearly a great deal of talent within this group. With some refinement in ensemble precision and a more considered approach to movement in quieter moments, future productions could be elevated even further.

A special mention must go to Rosey Pemberton, Annabelle Goodwin, and Edie Phillips, all of whom delivered outstanding vocal performances and made a significant impact on the production. These young ladies brought the house down and they are all forces to be reckoned with!

Centre Stage Youth Theatre Company should be very proud of what they have achieved here—this was a confident, engaging, and thoroughly entertaining production. Huge thanks go to Centre Stage for their invite and kind hospitality, and I wish them the best of luck with their future productions.

 

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