Review: We Will Rock You - Fortwilliam Musical Society

Society name: Fortwilliam Musical Society

Show name: We Will Rock You

Adjudicator date of attendance: 25/04/2026

A second trip up the M1 in less than twenty-four hours brought me to my fifth and final viewing of ‘We Will Rock You’ For the season. This time it was with Fortwilliam Musical Society in the lovely surroundings of The Theatre at The Mill. I never tire of seeing this show. The comedy is knowingly silly and completely over the top at times but when a cast commits fully to it, it really works. Then there is the music of Queen, the iconic anthems and some wonderful choral arrangements that never fail to lift an audience. The visit got off to a slightly unusual start and, due to a miscommunication over the start time for the matinee, I unfortunately missed the opening few minutes of the show. From an adjudication point of view, it also meant that I was unable to properly appreciate the front-of-house experience in the way I normally would, which was unfortunate. Once I got settled in, though, it was clear that Fortwilliam Musical Society had a strong understanding of the style and tone needed for the show and they relished every minute on that stage.

Laura Kerr did an excellent job as director. This was a cleverly staged production with a strong understanding of the heightened style needed for the show to really work.. It was a very slick production with clear, confident direction throughout. Ms. Kerr brought great clarity to the storytelling as she pushed the heightened, almost camp style that the show requires. A lot of the performances were deliberately over-the-top but this suited the material perfectly. I loved how frequently action spilled out into the audience, creating a really immersive atmosphere. There was a very strong eye for comedy right through the production. The humour was tight and very well-paced throughout. Some directorial touches stood out in particular. The reveal of Scaramouche’s transformation into the red leather look was very cleverly handled with lighting and the slow-motion fight sequence at the end of Act One was extremely well executed. Super work from Ms. Kerr, who had a very firm grasp on the humour and heart of the show.

Musical direction was in the very capable hands of Ciara Bowman, who oversaw a fabulous six-piece band and some wonderful vocal work throughout the production. This is not an easy show musically, either for principals or ensemble but, for the most part, the cast handled those challenges extremely well. The band was loud and in your face, exactly as it should be for ‘We Will Rock You’, but there was never any danger of the vocals being overshadowed, thanks to excellent work from the sound department. Lyrics and underscored dialogue were clear throughout, which is no small achievement in a score like this. Balance was very well judged, while harmonies in numbers such as ‘Somebody to Love’ were particularly strong. The ensemble singing really impressed throughout. There was great warmth to the choral sound and harmony work was handled very confidently. The face-melting guitar work at the top of ‘One Vision’ was stunning, while the guitar solo in ‘Who Wants to Live Forever’ would have made Brian May himself proud. Overall, this was excellent musical direction from Ms. Bowman.

Choreographer Michael McEvoy did wonderful work throughout, bringing great energy and sharpness to the production. Routines were clean, character-driven and completely in tune with the rock concert style of the piece. ‘Radio Ga Ga’ had wonderful military-style precision, with the ensemble moving sharply and confidently as one. This suited the robotic Globalsoft uniformity perfectly. ‘Somebody to Love’ was another very strong number, tight and very well-drilled. The staging of ‘Killer Queen’ was particularly effective too, including clever use of canes from the ensemble which added greatly to the visual style. ‘Crazy Little Thing Called Love’ was one of the most exhilarating numbers. Technically, the choreography itself was not overly complex, but it was so together, full of character and brilliantly staged. The use of levels throughout the number worked so well, while clever coordination with the lighting to the impact of the sequence. I really enjoyed the staging of ‘Another One Bites the Dust’, where members of the ensemble quite literally ‘bit the dust’ one by one, leaving Khashoggi to meet his fate last. It was inventive, slightly tongue-in-cheek and perfectly suited to the humour and style of the production.

Rory Jeffers gave an excellent performance as Galileo Figaro. He really captured the character’s sense of confusion and isolation as a man tormented by the strange words constantly circling around in his head. He was a very strong actor with excellent comic timing throughout. A lot of Galileo’s comedy comes from his awkwardness and his offbeat reactions and Mr. Jeffers understood this humour very well. He had an excellent singing voice throughout. ‘I Want to Break Free’ was a fabulous number, showing a really strong upper register and an ability to sustain the demanding rock vocals with wonderful control. ‘Under Pressure’ was another standout moment and demonstrated just how capable a singer he was.

Hannah Ferguson was very impressive as Scaramouche, bringing wonderful confidence and presence to the role. She was completely at ease throughout the performance and really relished the character’s sarcasm and attitude. Her comic timing was excellent and each of her cutting put-downs were hilariously delivered throughout. She brought a really strong singing voice to the role. ‘Somebody to Love’ was particularly impressive, with excellent control and a lovely richness to the sound. ‘Who Wants to Live Forever’ showed really impressive strength in her excellent lower register. More than anything, Ms. Ferguson was very funny. I loved her hilarious ‘guitar solo’ moment, performed with great conviction and energy. Overall, a hugely enjoyable performance.

Connor Polley gave a brilliant performance as Brit and was another performer who completely embraced the heightened style of the show. He understood this kind of comedy so well, delivering lines with a wonderfully knowing sense of humour throughout. Mr. Polley also brought wonderful physicality to the role. His athleticism was seriously impressive, not least during his spectacular high kick which was both unexpected and alarmingly flexible! ‘I Want It All’ really showcased the quality of his voice, with excellent range, power and confidence needed for the rock style of the score. He was also very impressive during ‘Headlong’, which showed strong musicality as he blended so well with the other three performers. A hugely entertaining performance.

Zoe Barr was another excellent performer as Oz and she brought great warmth and presence to the role. She had a very natural ease onstage. Singing was superb throughout. She was particularly strong during ‘Headlong’, which she performed with wonderful energy and musicality. Ms. Barr’s gorgeous singing voice was used to great effect across the show, but nowhere more so than in ‘No-One but You (Only the Good Die Young)’. There was real sincerity and poignancy in this number, which Ms. Barr delivered with a beautiful honesty and excellent control. Overall, this was a top-notch performance from a really strong performer.

Mark Tilley brought a wonderfully malevolent presence to the role of Khashoggi, creating a villain who was both threatening and very funny to watch. That is a difficult balance to achieve but Mr Tilley did so in a very skilled way. He really got the camp, comic-book style humour of the character but always kept things edgy so that Khashoggi felt like a constant threat. There was some great character work throughout the performance. Mr. Tilley’s comic timing was excellent and he knew just how to get the most out of the corniest of moments. His “ignorant plucker” gag was one of many examples of this, as he timed his run perfectly. He also had a wonderful singing voice, with excellent range and very strong harmony work throughout. ‘A Kind of Magic’ highlighted the quality of his vocals, and ‘Seven Seas of Rhye’ gave him the chance to really shine.

Kelly Brown was, for me, the standout performer of the production as Killer Queen. This was a truly stunning performance and one that completely dominated the stage whenever she appeared. Ms. Brown brought a fierce, commanding presence to the role, mixing glamour, danger and outrageous camp perfectly. There was no messing with Ms Brown’s Killer Queen. She was also exceptionally funny throughout. Her singing was outstanding throughout. ‘A Kind of Magic’ showed wonderful control and confidence. She attacked the number with real authority and style. ‘Fat Bottomed Girls’ was another huge moment for her, completely owning the stage from beginning to end with her excellent vocals, power and attitude. I also loved the strength of her lower register at the beginning of ‘Another One Bites the Dust’, which can often be lost under the band. An excellent performance all round.

Michael Rose gave a very strong and hugely entertaining performance as Buddy Holly and the Crickets (Buddy for short!). Mr Rose fully embraced the heightened style of the character and was a firm audience favourite from the outset. He had a real ease and confidence and handled the breaking of the fourth wall very naturally. The comedy was cleverly and knowingly played and he really understood the style of humour. He also sang extremely well. ‘These Are the Days of Our Lives’ was beautifully delivered with warmth and sincerity, providing a quieter and more heartfelt moment for Buddy. Mr Rose handled this contrast very well.

The ensemble work was very strong throughout and played a big part in driving both the energy and storytelling of the show. There was real commitment from the cast right across the board, whether performing as the identikit Globalsoft citizens or as the wonderfully eccentric Bohemians. The colourful group of girls alongside Scaramouche during ‘Somebody to Love’ worked really well together, interacting brilliantly while also producing a terrific vocal sound. ‘I Want It All’ had wonderful energy and featured excellent harmony work from the cast. What impressed me most though was the level of focus and character detail amongst the ensemble. The Bohemians in particular were highly entertaining. They were delightfully over-the-top at times but always controlled, which is the sign of excellent direction and wonderful cast discipline. Excellent work all round.

Stage management was in very safe hands with Andrew McKnight, who did an excellent job keeping the production moving smoothly throughout. Whether using cast members or stage crew to complete scene changes, transitions were handled with great fluidity and efficiency, helping to keep the pace and energy of the show at all times. Everything moved very well and contributed greatly to the slick overall feel of the performance. Great work from Mr McKnight and his team.

The set design presented a strong futuristic world and really suited the comic-book style of the show. The trucked scenic pieces were very versatile and functional, allowing transitions to happen very fluidly. The space was used very well throughout, particularly during the bigger ensemble numbers. The tall mesh structures stage left and right framed the playing space nicely and created a cold, urban environment. Details such as hazard tape, warning signs, corrugated metal, posters and graffiti-style dressing gave us a worn-down, rebellious feel which tied perfectly into the Bohemian world. The LED lighting around the band risers added a strong futuristic quality. The use of the upstage projection screen worked very well throughout and added to the storytelling. The projected graphics and images were very well chosen and suited the style of the production. At times though, some of the projections lacked a little sharpness and clarity and some images did not always have the visual impact they might have had. Overall though, this was a very strong visual presentation and the combination of set and graphics worked well together to create the larger-than-life world required.

Lighting was excellent throughout the production and played a large part in creating the rock concert atmosphere that ‘We Will Rock You’ needs. The lighting built into the set was used to great effect, especially in the bigger musical numbers where it punched out musical beats and added real energy and movement. Cueing was superbly timed. There was also wonderfully effective use of soft focus follow spots during numbers such as ‘Under Pressure’ and ‘No-One but You (Only the Good Die Young)’. There were some especially striking looks involving the vertical LED bars, which gave certain scenes a genuinely arena-style feel. The larger ensemble numbers felt like a live rock gig at times thanks to the superb lighting design. Flash cues were beautifully timed throughout, while ‘Who Wants to Live Forever’ featured some lovely subtle moving patterns across the floor which added greatly to the mood of the scene.

Sound was excellent throughout and handled the demands of the show very successfully. One of the strongest elements was the balance between band and vocals. The band always sounded superb, full and powerful without overwhelming what was happening onstage. Ensemble vocals were also mixed extremely well. Harmonies sat clearly above the band and there was a really strong balance across the cast during the larger musical numbers. Lyrics were always heard, even in the biggest ensemble numbers, which is not always easy to achieve with this score. Microphone cueing was always slick and well-timed. Overall, excellent work from the sound department, creating the full concert atmosphere the show requires while still keeping everything controlled and clear.

Costumes were another major success. The Ga Ga costumes were wonderfully uniform, with matching wigs and futuristic styling helping to create a great sense of conformity. The Bohemians looked completely chaotic, with tartans, ripped denim, band t-shirts, leather and accessories all contributing to the rock aesthetic. Killer Queen’s costumes were very eye-catching with a brilliantly exaggerated and villainous look. Khashoggi’s sleek futuristic styling and tinted glasses suited the character well and I loved Buddy’s old-school rocker look. Excellent work from all involved.

Props were of a very high standard with great attention to detail throughout. The jukebox, shopping trolley, video tape and various rock memorabilia all helped to create a wonderfully authentic world. Galileo’s notebooks were another good inclusion. The Harley-Davidson looked great and the retro television set was another important piece. Overall, the props department did an excellent job.

Hair and makeup were very strong and suited the style of the show extremely well. The contrast between the polished appearance of Globalsoft and the more rebellious look of the Bohemians was very effective. The Bohemians had plenty of personality to their look, with their colourful makeup and wild hairstyling all adding to the fun and eccentricity of the show. Killer Queen’s hair and makeup were especially impressive and worked perfectly with Ms Brown’s commanding stage presence. Khashoggi’s look also suited his villainous characterisation very well.

Despite the unfortunate confusion surrounding the matinee start time, which slightly disrupted the beginning of the afternoon from an adjudication point of view, what followed was a hugely enjoyable and impressively performed production from Fortwilliam Musical Society. In fairness to the society, once the reason for the misunderstanding was realised, they could not have been more welcoming and the quality of the production itself put the focus firmly where it belonged; on the stage. Wonderful direction, excellent musical work, slick choreography, strong technical support and a committed cast combined to create a show full of energy and fun. It was a super production and a most enjoyable afternoon at the theatre.

Pat McElwain

Adjudicator 2025/2026

Photo credit: Photographer Toby Watson