Review: We Will Rock You - Naas Musical Society

Society name: Naas Musical Society

Show name: We Will Rock You

Date of attendance: 9^th of March 2026

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Naas Musical Society marked a significant milestone with their production of ‘We Will Rock You’, their 30th show since the group’s foundation in 1995. It was a great choice for such an occasion. The show was big, bold, and unapologetically crowd-pleasing, with a catalogue of instantly recognisable Queen hits. The audience was in very familiar musical territory, with one iconic number following another. ‘We Will Rock You’ is not without its narrative quirks. Set in a dystopian future where individuality and live music have been suppressed, the story (such as it is) is tongue-in-cheek, packed with puns and non-stop references to iconic song lyrics and a rollercoasting energy that might well be challenging to follow. It was a thoroughly entertaining show with a superb cast working in tandem with a skilled production team, to ensure that the heart, humour, and spectacle of the piece shone through brightly.

Front of House at the Moat Theatre was, as always, a very positive experience. The foyer area was busy yet well managed, with everything moving along smoothly and efficiently. A particularly nice touch was the display of cast photographs, which were beautifully captured, professional shots that created a polished and inviting atmosphere before the performance had even begun. It was also a pleasure to meet some of the founding members of the society, individuals steeped in its history, who shared stories and anecdotes from across the years. There was a great sense of community throughout the theatre, with a warmth and familiarity evident as audience members greeted one another. 

Director Sharon McNamara showed a clear understanding of the material, capturing the unique blend of musical theatre and rock gig that people expect from ‘We Will Rock You’. It is a show that requires a confident hand to balance these elements and Ms. McNamara embraced the theatricality and the concert-style energy impressively. Pace was very well judged and there was no let up in momentum from start to finish. The show’s notoriously bonkers storyline was navigated with skill, with Ms. McNamara finding as much clarity as possible in a plot that can often feel chaotic. Comedy was a particular strength throughout, with sharp comic timing evident across the principal performances. The use of projection was also cleverly integrated, most notably in the motorbike sequence, which was both imaginative and highly effective as Buddy, Galileo and Scaramouche made their journey in style. Equally, the simple yet effective reveal of the guitar towards the end of the show was handled very well. Overall, this was a super piece of work from a skilled director who clearly had a firm grasp of how to bring this challenging material to life.

Musical Director Mairéad McKenna assembled a highly capable group of musicians, clearly au fait with the demands and style of the genre. The seven-piece band, comprising two keyboards, two guitars, bass, drums and percussion, delivered a full, driving sound that captured the essence of Queen’s iconic score. Ms. McKenna led from the keys and there was no doubting the quality of musicianship on display throughout. There were some challenges in achieving balance within the space. While the energy and power of the band were entirely in keeping with the style of the show, the mix leaned heavily toward bass and kick drum which, at times, overpowered vocals. With the band positioned offstage, accurately gauging the balance in the auditorium can be more difficult and this may have contributed to these issues on the night. That said, there were many moments of genuine musical excellence. Ensemble vocals were very strong throughout, with the offstage singing at the top of ‘A Kind of Magic’ being particularly effective. The ensemble delivered with real confidence in their onstage numbers, right up to their stirring ‘Bohemian Rhapsody’ finale. ‘No One But You’ stood out as a highlight, featuring a superb lead vocal from Oz supported by beautiful harmonies from the Bohemians. 

Áine Foley’s choreography was well in tune with the style and demands of the piece, embracing both its rock concert vibe as well as its theatricality. There was a good understanding of how to use movement to enhance character and to build energy, while also ensuring that the large ensemble was effectively utilised throughout. ‘Radio Ga Ga’ was a particular highlight, with impressive synchronicity and strong visual impact. ‘Killer Queen’ was delivered with real flair, the dancers clearly relishing the opportunity to lean into the number’s camp energy with confidence and enjoyment. ‘A Kind of Magic’ showcased a different dynamic, with precise, military-style movement that was both disciplined and visually striking, making excellent use of the multi-level set. ‘Fat Bottomed Girls’ added a playful edge, incorporating riding crops to good effect in what was a cheeky and entertaining routine. A standout element of the choreography was that it was well judged in accommodating a wide range of abilities within the ensemble, ensuring that all performers were included and given opportunities to shine. 

Galileo, the outsider at the heart of the story, was played with a frenetic energy by Tom Joyce. His erratic, impulsive movement established a very clear character choice from the outset, reflecting the role’s eccentricity and sense of disconnection. While this heightened physicality is often associated with the character, it did at times feel a little distracting, with mannerisms drawing focus. Vocally, Mr. Joyce was exceptionally strong, demonstrating a very impressive range in his rock tenor voice. This was most evident in ‘Who Wants To Live Forever?’, where his vocals soared with ease, delivering one of the standout musical moments of the evening. ‘I Want To Break Free’ was another highlight, showing both his vocal control and his ability to connect with the lyrics in a meaningful way. Mr. Joyce also showed a strong comic instinct, particularly in moments where Galileo is overwhelmed by the song lyrics racing through his mind. 

Scaramouche, the sharp-witted, rebellious misfit who refuses to conform, was played by Claire O’Reilly. As a character, she was a perfect contrast to Galileo’s more chaotic energy. She was sarcastic and guarded initially but eventually revealed her more emotional side. Ms. O’Reilly captured these elements excellently, delivering a standout performance that balanced attitude, vulnerability and humour so well. Her comic timing was excellent throughout, with a brilliantly natural delivery that allowed each line to land with maximum effect. There was an authenticity to her performance that never felt forced, and she demonstrated a strong understanding of when to let the comedy breathe and when to push for impact. Vocally, Ms. O’Reilly was equally impressive, with a strong range and a tone that was always full of character and well connected to the lyrics. Overall, this was a polished, memorable and very funny portrayal.

Sophie Mulhare brought Killer Queen, the all-powerful, controlling force behind the Globalsoft regime, to life in memorable fashion. Ms. Mulhare embodied dominance, glamour, and menace in equal measure. She was part tyrant, part rock diva and clearly enjoyed every minute of this clear departure from her day job as a primary school teacher! Vocally, this was a top-class performance. ‘Fat Bottomed Girls’ was bold and unapologetic and suited her style perfectly as she belted it out with power and flair. ‘Another One Bites The Dust’ further showed her excellent vocal control. Ms. Mulhare also demonstrated excellent comic instincts, particularly in her interactions with Khashoggi during the ‘Don’t Stop Me Now’, with razor-sharp timing that made it one of the comedic highlights of the show. 

Killer Queen’s right hand man, Khashoggi, was played with great assurance by Conor MacNamee. Mr. MacNamee played the role as with a sleek, sinister touch and knew exactly how to nail the show’s dry, knowing humour. He combined an underlying menace with a relaxed, almost understated delivery that allowed the comedy to land naturally without ever feeling forced. Vocally, he also impressed. He delivered ‘Seven Seas of Rhye’ with confidence and enthusiasm, throwing himself fully into the performance and revealing a vocal strength that added another dimension to his already impressive portrayal.  

Buddy, the keeper of musical history and one of the show’s most endearing figures, was played brilliantly by Andrew Docherty. Mr. Docherty embraced Buddy’s eccentricity, giving us a performance that was both unhinged and utterly engaging. The decision to present Buddy as a Scot proved to be an inspired one, giving the character a distinctive identity and greatly enhancing the comic potential of the role. The running gag of half-remembered musical knowledge, delivered through a series of hilariously mispronounced references, was comedy gold, as was his gloriously over-the-top reaction to the suggestion of singing a cappella. ‘These Are The Days Of Our Lives’ was delivered with great heart and sensitivity. It was a nice contrast to the high-energy comedy and demonstrated a well-rounded performance that balanced humour with heart. 

Adam Trundle was a superb Brit, one of the Bohemians intent on discovering the lost secrets of live music. Mr. Trundle brought great clarity to the role, with a strong command of text that actually made sense of a plot that can, at times, feel convoluted. His delivery was thoughtful and solid, ensuring that important narrative points landed effectively with the audience. There was a great confidence in his stage presence, and he brought a warmth to the character that made him immediately likeable. Vocally, Mr. Trundle was consistently strong. His superb range and musicality were evident at every turn. ‘I Want It All’ was particularly impressive with Oz. This was an excellent comic performance from a very talented performer which brought great charm to the production overall.

Jenny McCabe played Brit’s partner in crime, Oz, with a combination of resilience, warmth and determination to preserve what little remains of the world’s musical history and identity. Her consistently excellent accent sat very comfortably within the context of the show and her delivery throughout demonstrated a sharp comic instinct, getting the most out of the script’s offbeat humour with wonderful confidence. Her onstage partnership with Mr. Trundle was excellent, both creating a strong, humorous dynamic that made them a perfectly cast duo. This was especially evident in the anthemic ‘I Want It All’, where Ms. McCabe and Mr. Trundle combined brilliantly to deliver a high-energy and musically tight performance. Vocally, Ms. McCabe was outstanding throughout. Her solo in ‘No One But You’ was, for me, the musical highlight of the show, delivered with beautiful tone, control, and an utterly believable sincerity. 

In the role of Teacher, David Kirk made a welcome return to the stage after a number of decades away, bringing a natural ease and assurance to the role. He captured the character’s controlled authority very well, while still allowing a glimpse of personality to come through. Mr. Kirk had strong stage presence and clear, confident diction that ensured every line was delivered with purpose and clarity. 

The ensemble did very well, with strong vocals and well-rehearsed choreography adding to their energetic onstage presence. They provided excellent support to the principal characters throughout, maintaining high performance levels across the board. There was a good sense of commitment, with performers fully engaged throughout. The Teen Queens were particularly impressive, excelling both in movement and vocally. Their unaccompanied “Find me somebody to love” section was a standout moment, allowing their musicality to shine through with well-blended, accurate harmonies. The dancers in ‘Killer Queen’ also stood out, bringing great style, confidence, and strong performance energy with their precision and flair. The Bohemians formed a particularly strong and believable group, embodying a rebellious spirit and sense of community. Vocally, the ensemble was consistently solid, contributing a strong choral sound. 

Stage management, under the guidance of Bob O’Kelly, was slick and efficient throughout. Particularly impressive was the flying of the cyc, which acted as a downstage projection screen, along with the large upstage ‘circuit-board’ fly piece. Both were executed smoothly and with excellent timing. The split blacks beneath the raised platform provided effective masking, although there was one early moment where hands were briefly visible adjusting them from behind during a scene. This was a minor blip in the context of an otherwise polished operation. There was strong coordination between departments, most notably following the torture sequence, where chairs were struck efficiently under the cover of lighting blinders. Overall, a highly competent and professional piece of stage management that played a key role in the smooth running of the show.

The set design really established the bold, high-energy world of ‘We Will Rock You’. The overall visual impact was strong, with lighting integrated into the structure to create a gig-like atmosphere that drew us into the energy of the piece from the outset. The multi-level structure at the heart of the design was extremely practical and visually effective. The raised platform, flanked by staircases and additional playing areas, provided excellent staging opportunities. The trussing added to the industrial feel while also supporting the lighting design, and the upstage ‘circuit board’ fly piece worked very well in reinforcing the technological dominance at the centre of the story. What stood out most was the versatility of the set. The use of projection, particularly in sequences such as the motorbike ride, was both imaginative and well-integrated, adding another visual layer. 

Lighting played a major role in the overall visual impact of this production, helping to create a world that was both atmospheric and had a real rock concert vibe. The use of battens on the proscenium arch, combined with practical lamps integrated into the set, added greatly to the overall picture, in setting an industrial, futuristic tone. The design made excellent use of moving lights and haze to create striking, dynamic images. Particularly impressive was the use of beam effects to create laser-like ‘bars’ during Galileo’s imprisonment, a clever and visually impressive choice that added to the drama and the visual spectacle. There was also great sensitivity where required. ‘No One But You’ was beautifully lit, capturing a sense of stillness and emotional depth that allowed the number to breathe. 

Sound in ‘We Will Rock You’ always presents a challenge, requiring a careful balance between the power and drive of a live rock band and the clarity of vocals needed to tell the story, as convoluted as it may be. On this occasion, the production embraced the energy and volume that are so central to the show’s roots, with the very talented musicians delivering a full sound that captured the spirit of Queen’s music and contributed greatly to the overall atmosphere. At times, however, the balance leaned more heavily towards the band, particularly in the lower end, with bass guitar and kick drum occasionally dominating the mix.

In a venue as intimate as the Moat Theatre, this sometimes made it more difficult for vocals and harmonies to come through with full clarity, particularly in numbers such as ‘Under Pressure’. That said, there were many elements of the sound design that worked very effectively. The use of effects was well judged, most notably the vocoder in ‘Radio Ga Ga’, which added a very authentic style to the number. There was also good evidence of strong vocals across the cast, well blended and musically assured. 

Costumes were a major strength of the production, playing a crucial role in defining the two opposing worlds. The ensemble’s silver tops, white trousers and matching silver caps for ‘Radio Ga Ga’ created a uniformed image that reinforced Globalsoft’s controlled, manufactured identity. It was futuristic without being overcomplicated, creating an almost robotic visual. On the Bohemian side, the costume design was equally successful. There is always a risk that this world can descend into a chaotic mishmash of rock clichés but that was very carefully avoided. The Bohemians’ collective look felt coordinated rather than thrown together. Ripped fabrics, tartans, fishnets and leather all featured. Buddy’s kilt was a fun choice which reinforced his individuality. 

There was very good work from the props department throughout, with some strong attention to detail. The Bohemians’ den was particularly well realised, filled with an eclectic mix of items that reflected their scavenger-like existence. The motorbike was a standout piece, with a distinct Mad Max-style that made it look like it belonged in the Bohemians’ dystopian world. One small point was that the Bohemians’ drinking bottles were empty, which slightly broke the illusion of reality. A minor point, to be fair, in the context of what was otherwise very strong work from the props team.

There was excellent work from the hair and make-up team, with a strong sense of style throughout. The Teen Queens looked great, with their brightly coloured bobbed wigs perfectly complementing their pastel skirts. Khashoggi’s white wig immediately set him apart, giving him a recognisable and authoritative presence, while Buddy’s larger-than-life wig leaned into a classic rock icon aesthetic, perfectly suiting his eccentric personality. There was also strong attention to detail in the make-up design. Galileo’s guyliner was a particularly effective touch, while Killer Queen’s glamorous, polished look reinforced her dominance and diva-like presence. The Bohemians also looked great, with hair and make-up reflecting their rebellious identities. 

Overall, this was a most enjoyable production from Naas Musical Society, marking their 30th show with great confidence and energy. A very talented cast, under the guidance of a skilled production team, brought this challenging and often chaotic piece to life with great commitment and flair. Most importantly, there was a real sense of fun and enjoyment both on stage and across the theatre, with a strong community spirit underpinning the entire production. A fitting milestone for the society and a production that everyone involved will remember for a long time.

Pat McElwain

Sullivan Adjudicator 2025/2026

Photos are by Brenda Reade Photography