Review: We Will Rock You - Cecilian Musical Society

Society name: Cecilian Musical Society

Show name: We Will Rock You

Adjudicator date of attendance: 22/11/2025 

The Lime Tree Theatre proved an excellent venue for the visual and aural feast that was Cecilian Musical Society’s We Will Rock You. Arriving to an open curtain, the audience were immediately invited into a world built on contrast: old alongside new, crumbling facades against sleek technology, manufactured soullessness set beside the unfiltered joy of rock.

From the moment the opening credits rolled, the production drew the audience into Queen’s iconic sound world and the show’s offbeat, ultimately uplifting story of courage, individuality, and self-belief. The Society approached the material with a clear sense of drive, both emotional and physical, and the evening carried strong forward momentum from start to finish.

That said, while the production was energetic and did justice to the legendary score, it was not without areas that could be refined. In places, character development didn’t feel fully explored, which occasionally undercut the cast’s ability to land emotional beats with maximum impact. A show like We Will Rock You thrives on a powerful ensemble; it cannot rely solely on a strong front line. The society have that ensemble strength in abundance, and the evident collaboration across departments resulted in a bold, visually impressive, and cohesive piece of theatre.

Front of House was calm, efficient, and professional, engaging amiably with patrons while seating the large auditorium with ease. There was a palpable sense of anticipation in the building, and the clear systems in place ensured the evening began promptly and smoothly.

Director- Direction and Production

Des Henn guided a strong cast capably through the show’s quirky, dystopian world of “no real music,” and the overall pace benefited from well-thought-out, seamless transitions between scenes and locations. For the most part, the blocking was considered and effective. There were moments where focus and intention were less clear. Some performers drifted upstage without dramatic purpose, which reduced connection both between scene partners and with the audience. More deliberate staging choices here, anchored in specific intention, would sharpen storytelling and heighten impact.

While the visual world was confidently realised, some characters felt under-developed. Most notably, Galileo’s characterisation occasionally worked against audience engagement. The choice to include a tic-like action and stammer became distracting at times, and it didn’t feel fully aligned with the character’s function in the narrative. Galileo is an outsider, certainly, and his internal struggle should be visible, but this choice made the struggle read as primarily external, limiting emotional access for the audience. Overall, the direction suggested an excellent eye for detail in certain areas, but less consistency in others. A deeper interrogation of character intentions throughout would elevate an already strong production to an even higher level.

Musical Director- Direction and Orchestra

This production benefited enormously from the Musical Director’s exceptional skill. Conor McCarthy delivered outstanding work with both cast and band. Under his leadership, a vocally strong company achieved clean, confident harmony work, each vocal line distinct, yet beautifully balanced within the whole. Rather than relying on the inherent brilliance of Queen’s catalogue alone, Conor brought nuance to the score and pushed the cast to meet its demands with real style and musical integrity. From the clipped precision of the Globalsoft world to the raw, unrestrained energy of the Bohemians, the musical world remained consistent and purposeful. The result was a cohesive sound that supported storytelling and allowed both lyrics and musical detail to land clearly.

His control of the rock band, particularly with two drum kits in close proximity to the audience, was impressive. There were moments where the volume tipped slightly loud, but in the context of this show, it remained largely forgivable (it is rock ’n’ roll, after all). Underscoring was well timed and click tracks and sound effects were managed with clarity and precision. Conor’s focus and concentration were evident throughout, and his work formed the backbone of the production’s musical identity and underpinned its central message of rediscovering real music.

Choreographer- Choreography

Barbera Meaney’s choreography was the final polish on a production on this visually striking production. Working with two distinct choreographical languages, she clearly understood both the contrasting worlds and what each required physically. The Killer Queen numbers were sharp and controlled, clean lines, precise execution, and an intentional sense of self-importance. The shifting formations were consistently dazzling and hypnotic, and the dancers moved with a stylised uniformity that supported the “brainwashed” aesthetic beautifully.

In contrast, the Bohemian sequences exploded with raw energy. The movement vocabulary was grounded and punchy, frequently forward-facing, and driven unflinchingly toward the goal as a unified force. There was clear narrative intention in the movement across both worlds, and the choreography helped define character, atmosphere, and stakes, not simply decorate the numbers. Barbera achieved a level of synchronicity that is rarely seen in amateur theatre, and this spoke to both disciplined rehearsal and strong performer commitment. 

Leading Principles- Singing and Acting

Galileo – Emmet Donlan. Emmet has an undeniably versatile voice, shifting between emotional colours and tonal qualities with ease. He captured the rock aesthetic with power, while delivering the softer moments with a pleasing smoothness. Dramatically Galileo’s development felt pulled in an unusual direction. The emulation of a tic and stammer became an exaggerated physical choice that overshadowed the character’s internal conflict. Rather than reading as shy, awkward, and troubled, it sometimes pushed the portrayal into something more performative than truthful, reducing the audience’s ability to connect with Galileo’s emotional journey.

Scaramouche – Moya Henn. Moya took time to settle into the role, and the early scenes occasionally felt stiff or emotionally guarded. However, as the performance progressed, she developed into a dry-witted, poker-faced rebel, and her delivery began to land with a confident bite. Once the character arc found its footing, it was clearly defined, emerging from her shell, being knocked back, and then reappearing with renewed bravery. Her interactions with Galileo and the wider company were strong and believable. Vocally, she was captivating from the outset: exceptional clarity, power, and control. With continued experience, Moya has all the ingredients to become a truly formidable performer.

Killer Queen – Hilary Phayer. Hilary stepped into the towering high heels of the Killer Queen with a cold, calculating austerity. While the dancers moved behind her with clinical precision, she anchored the stage with power and authority. There was perhaps space to lean slightly further into the character’s darker edge to fully cement the audience’s dislike of her, but this was a strong performance regardless. Vocally, she handled the demands of the role with impressive steadiness, smooth transitions, confident attack, and no loss of control under pressure.

Khashoggi – James O’Donovan. James offered a slightly different take on the typically detached military figure, maintaining the authoritarian exterior while uncovering the comedy that can be hidden in the role. His occasional flirtatious, playful moments gave the character an unexpected dimension and made him almost likeable, an interesting and effective choice. Vocally, Seven Seas of Rhye was delivered with confidence, navigating its tricky musical demands with ease.

Buddy – Brian Henry. Brian found the heart of the rocker with real warmth. He delivered some of the script’s funniest moments without ever stepping outside character, which takes discipline and strong comic craft. He also brought genuine feeling to the role, and his rendition of These Are the Days landed as sincerely poignant.

Oz – Aoife Hennessy. Aoife fizzed with energy throughout, consistently engaged and highly watchable regardless of where focus was placed. Her off-script work was particularly strong, active, alive, and purposeful. Her relationship with Britney felt honest and well rooted, achieved without needing to push the physicality. Vocally, she showed power and clarity, and her ease in switching vocal qualities suggests exciting potential as she continues to develop.

Britney – Brian Curtin. Brian matched Aoife’s energy brilliantly, throwing himself into the role with wholehearted zeal. Adorably meat-headed, his accent work was strong and consistent, and his physicality helped define the character clearly. Supported by solid vocals, this was a lively, confident performance that complemented the ensemble well.

Chorus/Ensemble- Singing, Acting and Choreography

The chorus was the true engine of this production. Their energy, attention to detail, and collective commitment created the cohesion that makes a show like this succeed. Each performer remained individually expressive while still serving the unified storytelling. The precision of the Yuppies was genuinely impressive, and it contrasted beautifully with the Bohemians’ sense of joyful abandon. Vocally, the ensemble work was excellent, harmonies were clear, balanced, and confidently placed. The stage picture remained consistently interesting, and that only happens when an ensemble is fully invested in always telling the story.

Stage Management & Set Design

Scene changes, led by Stage Manager Ray Bourke, were swift and efficient, and the decision to have many transitions operated by cast members helped maintain momentum and supported the show’s continuous drive. Overall, the backstage operations reflected good planning and strong communication. 

The set design was excellent, leaning into the show’s theme of opposites with real clarity. Cracked, crumbling faux stone textures sat effectively alongside metal platforms and railings with clean, modern lines. The finish was strong, and the raised levels created genuine versatility, allowing multiple locations to be established without disrupting flow. Additional pieces, particularly the VW van, were carefully constructed and well finished. Projections were also well designed, maintaining a cohesive visual identity and blending seamlessly with the wider aesthetic.

Technical- Lighting and Sound

The lighting design was truly striking. Sharp angles and silhouettes were used to excellent effect, contrasted with big, punchy rock ’n’ roll parcan hits. The addition of blinders added an authentic stadium feel, and side light was particularly effective in shaping the stage picture. Front-of-house cover was well focused, and cueing was crisp throughout, supporting the rhythm of the piece without distraction.

Sound was superbly mixed: clear, punchy, and well balanced for a show of this scale and style. The band supported the vocals effectively, allowing lyrics to land and story to remain central. Cueing was reliable, with no noticeable missed moments, and the overall soundscape supported both the rock energy and the narrative clarity.

Visual- Costumes, Hair and Make Up

Costumes were outstanding and played a significant role in defining the contrasting worlds. The sharp, clean lines of the Globalsoft aesthetic were strongly offset by the layered, punk-rock styling of the Bohemians. Detailing and styling were excellent across the board. The costume team deserve real credit for maintaining consistently high standards, performers looked tidy, polished, and stage-ready throughout, with no distracting slips in presentation.

Hair and make-up were equally effective, supporting character identity and enhancing the overall look. Wigs were well fitted, well styled, and clearly well maintained—another sign of strong backstage organisation and pride in presentation.

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

Overall, Cecilian Musical Society delivered a strong, energetic production that provided the audience with a thoroughly enjoyable evening of theatre. There was a clear artistic vision throughout, underpinned by an excellent musical foundation, vibrant and purposeful choreography, and a committed, hardworking cast. The cohesion across all departments spoke not only to careful preparation, but also to a genuine sense of trust and mutual respect between the production team and performers.

From a directorial perspective, there is an opportunity to move blocking beyond functional staging. Keep asking why choices are being made, and ensure every movement is rooted in intention. Additionally, Character development would benefit from deeper exploration: interrogate motivations, refine objectives, and be willing to redirect choices that don’t serve the narrative. And a stronger consistency of detail, particularly in character work, would lift an already impressive production even further.

Cecilian Musical Society is clearly a company driven by passion, dedication, and creative energy. Their willingness to take risks and their obvious enthusiasm for the work position them well to achieve an even higher standard. With further refinement in character development and intentional staging, they have every potential to deliver productions of truly exceptional quality.