Review: We Will Rock You - Castlebar MDS

Society name: Castlebar Musical and Dramatic Society

Show name: We Will Rock You

Date of attendance: 28^th March 2026

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This was the second show of a two-show day for me, making the trip from Ballinasloe in over to Castlebar. The TF Royal Theatre in Castlebar is a stunning venue. With its huge auditorium and its wide, open stage, it is the kind of space that really demands scale. Castlebar Musical and Dramatic Society met that challenge head-on. Their production of ‘We Will Rock You’ felt right at home there. From the outset, there was a real sense of confidence in how the space was used. At times, it genuinely felt more like a rock gig than a piece of musical theatre, which is exactly what this show needs. That energy came from a combination of things, including strong, committed performances and technical elements that were firing on all cylinders. ‘We Will Rock You’ is not an easy show to pull off. It’s ambitious, technically demanding and can easily unravel if not handled with care. But that evening in the TF Royal, it all came together and the audience was clearly along for the ride from start to finish.

Front of house set the tone very nicely from the moment I arrived. There was a real sense of welcome which was relaxed, friendly and well organised without ever feeling over-managed. There was also a nice touch of uniformity with the front of house team, all in black baseball caps branded for ‘We Will Rock You’. It might seem like a small thing, but it added to the sense of occasion and gave everything a polished feel before we took our seats. This is a big venue, and with a full house to manage, there was plenty that could have felt hectic but it all ran very smoothly. 

Direction, under Donna Ruane, was a real standout and it was clear from the outset that this was a director who knew exactly what she wanted from the piece. One of the most striking elements was the use of digital graphics and how confidently they were handled. Graphics weren’t just decorative. They were doing real work in terms of storytelling, linking scenes, and providing clarity where the narrative can sometimes be tricky to navigate. There was also a real understanding of the humour in the piece. Ben Elton’s writing can be quite madcap and it needs a very specific kind of delivery to land properly. That heightened, knowing style came through strongly here. Pace was excellent throughout. What really stood out was the clarity brought to the storytelling. This is not the most straightforward narrative, but it was handled with real confidence. 

Deirdre Lee’s musical direction was of a very high standard throughout. There was excellent musicianship across the board, but the guitars and drums in particular stood out. The drummer really drove the show forward, giving it that energy and pulse that’s so vital in ‘We Will Rock You’. There were some really strong musical moments. ‘Radio Gaga’ had a superb choral sound and that sense of ensemble carried right through the show. ‘I Want to Break Free’ featured a particularly strong guitar solo, while ‘Killer Queen’ was full of lovely touches, including some beautifully balanced, harmonising guitar lines. One of the most impressive elements was how well the underscoring was handled. Dialogue sat comfortably on top of the music at all times and every word was clear. There was a real sense that a lot of time had been invested in securing harmonies and it paid off. The balance within the ensemble was consistently strong and the cast sounded confident and well supported throughout. ‘And then there was ‘Bohemian Rhapsody’. There’s always an expectation around that number and it more than delivered here. Strong lead vocals, outstanding ensemble work and all of it very well balanced by the sound team. Superb musical direction from Ms Lee overall. 

Claudia O’Sullivan’s choreography was another strong element of the production, with routines that consistently supported the storytelling. ‘Radio Gaga’ was a standout in terms of style. The mechanical, almost robotic movement was very effective, and there was excellent synchronicity across the ensemble, which really sold that sense of control and uniformity within Globalsoft. ‘Killer Queen’ brought a completely different feel, with canes incorporated into what was a slick and very polished routine. In contrast, ‘A Kind of Magic’ was much simpler in its approach, but no less effective. In fact, it worked because of that simplicity. The sharpness and precision of the movement gave it real impact. There was an enjoyable looseness to the Bohemians’ ‘Crazy Little Thing Called Love’ with some fun partner work that gave the number great charm. What came across most strongly throughout was a clear understanding of style and tone. The movement always felt appropriate and achievable. 

Chris McLaughlin took on the role of Galileo Figaro and delivered a really engaging, fully realised performance. There was a wonderfully heightened quality to his acting that suited the style of the show and he leaned into the comedy very effectively. His confusion around the lyrics in his head and the meaning behind his dreams was played with great instinct and there were plenty of genuine laugh-out-loud moments as a result. His vocal performance was nothing short of exceptional. ‘I Want to Break Free’ was particularly impressive as he showcased an upper register that seemed limitless. And then, of course, there was ‘Bohemian Rhapsody’ at the end. It felt like the perfect moment for him to shine and he didn’t disappoint. An excellent performance all round, which was confident, engaging and vocally outstanding.

Caoimhe Halligan was excellent as Scaramouche. This was an outstanding performance on every level. From the start, she captured that slightly gothic, outsider quality, the girl who doesn’t quite fit in and doesn’t particularly care. Vocally, Ms Halligan was exceptional. ‘Somebody to Love’ was a real wow moment. There was power there but also wonderful control. Her range was seriously impressive and at times it felt like there was no real ceiling to what she could do. ‘Who Wants to Live Forever’ was simply stunning, one of those moments where the theatre just goes quiet and lets the performance speak for itself. Her comedy work was equally impressive. She had a brilliant instinct for timing and the humour landed effortlessly. The sarcasm, the quick-fire put-downs, the little reactions, were all so well judged. A superb performance and a standout in a very strong cast.

Katya Harrison brought a strong, commanding presence to the role of Killer Queen, the controlling figure at the head of Globalsoft. There was a real sense of authority about her from the moment she appeared and her character was polished and ruthless throughout. Vocally, she was very solid throughout, with a powerful sound that helped her dominate the stage in the bigger moments. ‘Killer Queen’ itself was a strong number, really establishing her status, surrounded by her ever-present minions and very much in control. 

David Alexander brought a strong, sinister presence to the role of Khashoggi, Globalsoft’s ever-watchful commander of police. There was a real authority about him on stage, and he carried that sense of control nicely through each of his appearances. He had a good handle on the humour of the piece as well. His ‘ignorant plucker’ line landed perfectly, delivered with just the right amount of knowing intent. Vocally, he was very solid. ‘Seven Seas of Rhye’ was a particularly enjoyable moment, giving him a chance to show off a strong, well-supported voice. 

Edward Scott delivered a genuinely hilarious performance as Brit. He showed excellent comic instincts throughout. His timing was spot on and he made great use of physicality to bring the role to life. Vocally, this was another standout performance. ‘I Want It All’ was delivered with confidence and control, while his contribution to ‘Headlong’ was particularly impressive. Excellent work all round from Mr. Scott — a performance full of character, humour, and musical strength.

Edward’s sister, Nicole Scott, took on the role of Oz and together they created a really engaging and believable partnership on stage. Vocally, Ms Scott was simply stunning. Numbers like ‘I Want It All’ and ‘Headlong’ showcased her strength and control but it was ‘No One But You’ that really stood out. Taking the lead vocal, she brought a real sense of sincerity and emotion to the song. She was also a very strong actress, with a natural comic touch that worked particularly well in her scenes with Brit. 

Rounding out the Scott ‘dynasty’ Gerard Scott was great fun as Buddy. His offbeat, easy-going presence, drifting in and out of the action was most engaging. His comic timing was excellent and he handled the fourth wall breaks with real ease. Not to be outdone by his fellow Scotts, he too had a superb singing voice. ‘These Are the Days of Our Lives’ was a standout moment, beautifully melodic and delivered with a real sense of poignancy that gave the audience a chance to see a different side to his character. 

Judy MacNamara made a strong impression in her cameo as the Teacher, a character that can easily pass by, but here it felt sharp, and well-defined. She had excellent stage presence, and from the moment she appeared there was a real sense of control and purpose. 

The ensemble was truly exceptional and played a huge part in the show’s overall success. Vocally, they were excellent throughout. There was a real sense that a great deal of work had gone into the choral preparation and it paid off. The Gaga Girls, in particular, produced lovely harmonies in ‘Somebody to Love’, while ‘Bohemian Rhapsody’ was a real standout, with the ensemble delivering a beautifully balanced and powerful vocal that sent shivers down the spine. Choreography was very well drilled, with strong synchronicity and a clear sense of uniformity where required, particularly in the Globalsoft numbers. Everything felt tight and well-rehearsed. Focus and engagement were excellent throughout. There was never a sense of anyone switching off and every member of the ensemble contributed to a wonderful sense of unity throughout. The Bohemians, as a group, were particularly impressive in terms of energy and commitment to the storytelling. There was a great sense of an eclectic community in all of their scenes. 

Stage management, led by Declan Gibbons, was very strong overall, with Mr Gibbons and his crew ensuring that the show moved smoothly from scene to scene. One of the most effective choices here was the use of the cast to handle much of the set movement. There were a couple of moments, however, where that established convention shifted slightly and crew members were visibly involved. These moments stood out, simply because we had already accepted that cast were the orchestrators of the seamless transitions. It’s a small point, but from a stylistic point of view, maintaining that consistency throughout might have preserved the illusion more. That said, it’s important to stress that the crew themselves did an excellent job in everything they were required to do. 

The set for this production relied heavily on the use of digital graphics and it was a choice that paid off in a big way. These weren’t just decorative backdrops, they were central to how the show was built and understood. They set the tone, not just in terms of the humour, but also in establishing the tongue-in-cheek, self-aware style that ran through the production.  Visually, there were some really striking moments. The ‘Flash’ graphics, with the electrocuted skeletons, were bold, impactful and very well timed alongside the lighting effects. There were also some excellent physical set pieces. Killer Queen’s throne was a standout, as was the very impressive Volkswagen van. The use of platforms, trussing and industrial-style elements gave the stage a very solid framework. Excellent work all round.

Lighting played a huge role in complementing the scale of the production. In a venue of this size, that sense of scale is vital and it was achieved very effectively here. There was a strong rock gig aesthetic running throughout, which suited the show perfectly and helped create that concert-like atmosphere. The integration of lighting into the set, particularly within the truss structures, worked very well, contributing to that feeling of being at a live stadium show rather than a traditional musical. ‘No One But You’ stood out as one of the most atmospheric scenes of the night. The use of haze, combined with strong, defined beams of light cutting through it, created a beautiful, reflective quality. In contrast, ‘Flash’ was full of energy and precision. The coordination between lighting and music was excellent, with cues landing cleanly and helping to drive the action forward, particularly during the torture sequence. ‘We Will Rock You’ delivered exactly what you would hope for. It was bold, full of colour and movement, with excellently timed cues. Across the board, there was a clear understanding of when to go big and when to pull things back. That balance made all the difference. 

Sound was excellent throughout and handled with a great deal of care and musical understanding. There was a clear understanding from the outset that this is a show that needs to be big and bold but, crucially, that never came at the expense of clarity. The overall balance was superb, both within the band itself and between band and vocals. What really stood out was the vocal mix. With so many radio mics in play, it could easily have become muddied but it never did. Underscored dialogue was handled particularly well. The instrumental balance was equally impressive. Guitar solos were pushed forward when needed and different elements of the band were allowed to shine at the right moments. The choral sound was another highlight, both onstage and off. EQ levels for dialogue were well judged and cueing was very tight in what was very polished and solid operation. 

There was excellent work from the props department, with a clear attention to detail throughout. The canes in ‘Killer Queen’ were a great touch, used very effectively within the choreography and adding to the overall polish of the number. The hospital beds were solid and practical. The ‘Harley’ stood out as a particularly strong prop, adding real visual impact on stage, while smaller items like the television and the all-important video cassette tape helped to progress the storytelling very well. The Bohemian scenes, in particular, benefited from some lovely prop work. The retro feel was well captured, with pieces that felt authentic rather than decorative. Brit’s junk-built instrument was a highlight and, of course, Galileo’s iconic half mic stand was exactly as it should be. 

Costuming was a real strength too, with a clear sense of style running through each of the show’s different worlds. The contrast between Globalsoft and the Bohemians was well defined. There was a strong sense of uniformity, especially in numbers like ‘Radio Gaga’, where the precision of the choreography was matched by the sleek costuming. The Gaga girls were especially striking, with their white boots, silver skirts and jackets catching the light beautifully and adding to the overall visual of those scenes. In contrast, the Bohemians were exactly as they should be, a motley, rebellious mix of styles. Tartan, leather, denim, headbands, it all came together to create a sense of individuality, without ever feeling too chaotic. Excellent work all round from the costume department.

Hair and makeup were very well handled throughout. In the Globalsoft scenes, there was a strong sense of uniformity. Hair was neat, controlled and consistent, feeding into the idea of conformity very well. In contrast, the Bohemians were wonderfully chaotic. Big, bold and questionable hair choices added to their individuality and sense of rebellion. There were some nice individual touches as well. Galileo’s Freddie-inspired moustache was a simple but effective nod. Super work all round.

This was a confident, assured and thoroughly entertaining production that knew exactly what it wanted to be. What came across most was the clarity of direction. Donna Ruane had a very definite vision for the show, in terms of its tone, humour and style and that vision was consistent across every aspect of the production. Just as importantly, every performer on stage bought into that “one vision”. There was a great understanding of how the show needed to be played, with its heightened delivery, knowing humour and the balance between comedy and heart. That understanding made a huge difference. An excellent production, and a real credit to everyone involved.

Pat McElwain

Sullivan Adjudicator 2025/2026

Photos by Alison Laredo.