Review: We Will Rock You - Mitchelstown Musical Society

Society name: Mitchelstown Musical Society

Show name: We Will Rock You

Adjudicator date of attendance: 20/03/2026

Mitchelstown Musical Society took on the formidable challenge of We Will Rock You with clear ambition, enthusiasm, and a willingness to embrace the scale and style of one of musical theatre’s most demanding modern rock scores. This is a show that asks a great deal of every department: bold performances, relentless pace, high-octane vocals, slick technical execution, and a strong visual identity are all essential if the piece is to fully achieve its intended impact. It was evident throughout the evening that the company approached the production with commitment and genuine passion, and while there were areas that would benefit from further refinement, the effort and ambition behind the undertaking were undeniable.

Director Lisa Kelly delivered a production with a clear understanding of the narrative arc of the piece, and there was a strong sense that the company had been guided carefully through the world of the show. The blocking was generally well considered, with logical physical journeys and thoughtful use of the playing space. Sightlines were well managed, and performers were staged with clear awareness of one another, ensuring that the action remained visually coherent throughout. There was also a consistent understanding of character across the cast, suggesting that considerable directorial work had gone into defining the world and tone of the piece for the performers.

The principal area where the direction could be strengthened is in pacing. We Will Rock You is a show that thrives on speed, sharp wit, and relentless energy, and unfortunately the production often moved at a slower pace than the material demands. This was particularly noticeable in Act One, where the dialogue scenes felt overextended and the momentum of the storytelling occasionally stalled. Some of the comic timing was diminished as a result. This is a show that needs to drive constantly forward, and with a firmer hand on pace and transitions, the entire production would gain considerably in impact.

Musically, the production was underpinned by a strong musical performance from the band led by Eamon O’Malley. The rock sound was full, energetic, and stylistically appropriate throughout, successfully capturing the essence of Queen’s iconic score. The band provided strong support to the performers and maintained momentum where needed, with well-judged tempi that frequently helped reinvigorate the pace following slower dialogue scenes. There was clear musical discipline and preparation evident in the band’s performance, and they should be commended for delivering the power and drive required for such a vocally and instrumentally demanding score.

What could be heard of the vocal work suggested similarly strong preparation, with evidence of harmonies and layered ensemble vocals throughout. Unfortunately, much of this detail was obscured by issues in the sound balance, making it difficult to fully appreciate the musical work that had clearly been done in rehearsal. Nonetheless, the musical foundations of the production were strong, and the orchestra provided an excellent backbone to the evening.

Henry James Fitzgerald’s choreography showed awareness of the capabilities of the company and was sensibly tailored to suit the performers available. We Will Rock You presents particular challenges for choreographers when working with a cast that may not be dance-led, and credit should be given for creating movement material that was achievable and accessible for the ensemble. That said, the choreography would benefit from greater polish and sharper execution to fully realise the futuristic, stylised world of the show. Much of the movement lacked the precision and attack needed for the cyber aesthetic, with timing inconsistencies and untidy shaping reducing the overall visual impact. The opening number in particular needed more punch and dynamic energy to establish the production’s world strongly from the outset. As the audience’s first major visual introduction to the show, this moment needs to make an immediate and commanding statement.

Spacing and stage pictures would also benefit from further refinement, with some imbalance apparent in formations and positioning. Additionally, greater integration between choreography and set could help improve flow; adapting routines around existing furniture and scenic elements rather than pausing to clear and reset the stage would maintain momentum more effectively. The Bohemians in particular felt somewhat underused choreographically and could perhaps have been given a more distinctive movement vocabulary to help define their world more clearly in contrast to the Yuppies.

Among the principals, Emmet Donlan delivered a vocally excellent performance as Galileo, demonstrating impressive range, control, and vocal assurance throughout. He handled the demands of the score with confidence and consistency, clearly possessing the vocal skill required for the role. Dramatically the performance felt understated. Galileo is a character who benefits from youthful impulsiveness, emotional vulnerability, and charismatic unpredictability, and while Emmet’s vocal work was extremely strong, the dramatic portrayal remained a little restrained. In particular, the central connection with Scaramouche would benefit from deeper development to strengthen the emotional core of the story.

Kate Hennessy gave a strong vocal performance as Scaramouche, bringing power and security to the role’s challenging musical demands. Her singing was consistently assured, and she clearly possesses the vocal technique necessary for the part. Her performance captured some of the character’s outsider quality and rebellious spirit, and she worked hard to establish a relationship with Galileo. At times the character’s trademark sarcasm and wit did not land quite as sharply as they might, due largely to a slightly slower pace of delivery and a somewhat reserved performance style. Leaning further into the eccentricity, bite, and confidence of the character would help create a more vibrant and distinctive portrayal.

Michelle Vaughan brought commanding stage presence to Killer Queen and held attention effectively whenever onstage. Vocally, she handled the material confidently and delivered the songs securely. To elevate the portrayal further, the characterisation could benefit from greater menace and theatrical danger. Killer Queen must feel utterly dominant and almost untouchably powerful within the world of the show, and while Michelle had authority, pushing further into the character’s villainy and embracing a more ruthless intensity would create an even more impactful performance.

Brian O’Riordan gave a committed and vocally confident performance as Khashoggi, with “Seven Seas of Rhye” particularly well delivered. His interpretation was entertaining and energetic, though the role would benefit from greater darkness and threat to fully establish Khashoggi as a genuinely intimidating antagonist. More severe physical choices and a heightened sense of menace would strengthen the character considerably.

Charlie Barry delivered an excellent performance as Brit, combining strong vocal work with highly effective physicality and consistent accent work. He brought warmth, energy, and excellent characterisation to the role, creating a highly believable and engaging stage presence. His connection with Oz was particularly effective, helping to ground their relationship in genuine warmth and sincerity.

Aideen O’Connor was a standout throughout the evening as Oz. She brought exceptional energy, charisma, and warmth to the role, consistently elevating every scene in which she appeared. Vocally, she was powerful and controlled, with excellent technique and commanding stage confidence. Her performance was vibrant, engaging, and full of personality, making her one of the evening’s strongest assets.

The performance of the night came from Diarmuid Vaughan as Buddy. His comic timing was exceptional, his audience connection was instinctive, and his understanding of the role was complete. He fully embodied the character from first entrance to final bow and demonstrated superb confidence and precision in his comedic delivery. His performance was polished, hugely entertaining, and a joy to watch.

Mary O’Callaghan’s Teacher/Tina Turner would benefit from a more grounded and truthful approach in future performances. The characterisation leaned heavily into exaggeration and caricature. While We Will Rock You is undoubtedly heightened in style, broad comedy remains most effective when rooted in recognisable truth. A more measured and sincere approach would likely make the character more engaging and effective.

The ensemble gave an enthusiastic and committed performance throughout, and it was clear they were fully invested in the production. The Bohemians in particular brought warmth, joy, and a strong sense of camaraderie to the stage, creating a believable collective identity. Their movement work would benefit from greater precision and uniformity. The Yuppie ensemble similarly required further cleaning to improve timing and synchronicity. Acting styles across the ensemble varied considerably, with some performers leaning toward over-exaggeration while others appeared more restrained. Focused ensemble acting workshops could help unify performance style and create a stronger sense of consistency across the company. Due to the sound issues, it was unfortunately difficult to make a fair assessment of ensemble vocals.

Stage management under Hannah Myers was efficient and well handled, with scene changes completed smoothly and with minimal disruption. The set design was practical and functional, facilitating fluid movement between locations. While visually clean, the design lacked some textural richness and depth, which caused it at times to appear somewhat flat under the lighting. The aesthetic sat somewhat between the sterile corporate world and the anarchic Bohemian world without fully committing to either. The moving staircase was an excellent scenic element and could perhaps have been utilised even more to create varied staging and visual interest. The motorbike was a particularly effective visual moment and added considerable theatrical impact. Projections were visually strong and of high quality, though several cueing errors and mistimed transitions in Act Two detracted from their effectiveness.

Lighting was one of the production’s strongest technical achievements. The rig was used creatively and effectively, with several striking stage pictures created throughout the evening. The use of blinders and sunstrips particularly supported the concert-style atmosphere of the piece and enhanced the rock aesthetic very successfully. Front of House focus did require some adjustment, with a noticeable lighting gap stage right leaving performers underlit in certain moments.

Sound was the area most in need of attention. The overall level was excessively loud for the venue, particularly given the natural reverb of the space, resulting in a harsh and often uncomfortable listening experience. Principal microphones sat consistently close to feedback, while balance across the mix was problematic throughout. Principals were often overwhelmingly loud, while ensemble vocals were largely lost, severely diminishing the impact of group numbers. There were also several occasions where the Musical Director’s voice was audible through the sound desk monitor, which proved distracting. This is an area that would benefit significantly from review, as improved sound balance would dramatically enhance the audience’s ability to appreciate the strong musical work being done onstage.

Costume design presented a mixed but often effective visual palette. The Yuppie costumes lacked some of the boldness and polish required for the futuristic Globalsoft aesthetic, with several appearing somewhat plain or ill-fitting. In contrast, the Gaga Girls and guards helped inject visual excitement into the production, with the latter particularly effective in establishing the post-apocalyptic aesthetic. The Bohemian costumes were the clear standout, richly detailed and imaginative, strongly supporting the world-building of the production. Some principal costume choices could be reconsidered, particularly Galileo’s corset, which appeared ill-fitted and visually incongruous, and Scaramouche’s all-white opening costume, which did not clearly support her outsider narrative. Hair and make-up work was strong overall, with excellent detailing among the Bohemians and particularly effective use of hairpieces.

Front of House deserves particular commendation for the welcoming and efficient atmosphere created on arrival. Audience members were greeted warmly, seating was handled smoothly, and the pre-show environment was inviting and well organised. The display inside the entrance was especially noteworthy, an imaginative and detailed homage to rock memorabilia that immediately immersed patrons in the spirit of the show. Such thoughtful touches greatly enhance the audience experience and reflect a society that clearly values presentation and hospitality.

Overall, Mitchelstown Musical Society should be commended for taking on such a challenging and stylistically demanding production. We Will Rock You is a difficult show to execute successfully, and this production demonstrated considerable ambition, strong musical foundations, several standout performances, and clear commitment from the entire company. With greater attention to pace, polish, and technical balance this company has all the ingredients necessary to elevate future productions to an even higher standard. There is much talent within this society, and with continued refinement and development, they are well placed for continued success in future seasons.