We Will Rock You

Despite the opening being delayed by 20 minutes due to a technical glitch, we all knew within moments of the front tabs opening that Spotlight, and Super-Director Clay English, have a massive hit on their hands with We Will Rock You.

Put together in just six weeks after the cancellation of another production due to Covid, English was not content to rest on his laurels by recreating his highly successful 2018 production for the company. When one is as talented as Clay English is, you are driven by passion to compete with yourself and keep raising the bar of excellence …and raise it he does.

The story of a cyber-controlled world where everything is computer generated and real music no longer exists is no longer that far from the truth, and the hero, Galileo’s, search for the elusive “rock” that contains all music, seems particularly pertinent for our times. English capitalises on it, adding AV images on a huge LED screen, and even live stream smartphone footage (which I have seen done before by Victoria’s PLOS company). Small but important updates in the script have meant it carries more weight and is more topical than it was 18 years ago when the show first hit the stage. It’s more contemporary now, but still with a futuristic throughline.

The choreography (also by English) is perfect: dance combinations that are fresh and original, showy without being overly complex, and they’re beautifully performed by a quality cast throughout. Of the leads, the outstanding performer is - you’ve guessed it - Clay English himself as Brit (Britney Spears.) His energy level and joie de vivre is in every line, every note. He owns the stage whenever he appears. But that takes nothing away from the other principals, who are all excellent. Samantha Sherrin gives a stellar performance as the Killer Queen, with all the swagger of a young Bette Midler, and her vocals are amazing. Sean Curran is the perfect Kashoggi, powerful but with a degree of dry subtle wit that works so well opposite Sherrin. Nigel Tolsten is both engaging and endearing as Buddy, with a relaxed yet powerful stage presence. Samantha Price shows astonishing chops and charisma as Brit’s girlfriend OZ, but I would like to hear a smidgin more attention to diction, as I missed a lot of her lines.

As the young lovers – Galileo and Scaramouche (the name gag “Scarey Bush” gets belly-laughs) on their quest to find music, Jack Harbour and Georgia Beck are brilliantly cast. Jack has the unenviable task of handling Freddie Mercury’s vocals and he does well, but he’s most convincing with his acting, and the tension and self-doubt he brings to the role is palpable. Georgia Beck is bloody marvellous, right down to the authentic Essex accent. Her top notes in Somebody To Love were jaw dropping….it’s a stellar performance.

Of course Queen’s music is complex and often overblown (isn’t that why we love it?) and the show would be nothing without the astonishing four piece band under the direction of Shari Willner. Four kick-ass musicians sit high on the catwalk and drive the score along with superb skill. They are stars in their own right.

The audience (myself included) adored every minute…we double clapped in “Radio Ga Ga”, stamped our feet in “We Will Rock You”, and waved our arms in “We Are The Champions”. We gave a standing ovation in appreciation and when the AV asked us ‘Do you want to hear “Bohemian Rhapsody”?’ we screamed YES … and the laughed when the screen responded, “Oh all right then.” And what a performance that was, both vocally and the lighting (designed by English, naturally)

Normally I would raise an eyebrow (or three!) at someone’s name being in a programme 9 times, but in this case 100 wouldn’t be excessive. Clay English (and the entire company) deserves all those accolades and more.

A “must-see” show.

Coral Drouyn

Photos by Vargo Studios