Review: We Will Rock You - SONG Dundalk

Society name: SONG Dundalk

Show name: We Will Rock You

Adjudicator date of attendance: 19/04/2026

‘We Will Rock You’ has been a very popular choice for groups this season, and SONG Dundalk’s production showed exactly why the show works so well with audiences. One of the key things that makes this society stand out is the strength of its younger performers. There is some exceptional talent coming through the ranks and that was very evident throughout this production. Earlier in the season I reviewed their production of ‘Annie’, so it was really interesting to see them move from the world of Daddy Warbucks and 1930s New York into the loud, chaotic and rebellious world of rock music and futuristic dystopia. While the two shows could not have been more different in style, the same sense of hard work, ambition and polish was very much on display here. This was a hugely entertaining production which really understood the tone of the piece. The cast had a wonderful understanding of the humour, silliness and larger-than-life nature of the script. There was a great energy running through the show from start to finish, along with some outstanding individual performances and an incredibly impressive technical standard.

The front of house experience was most pleasant. The large open foyer area of An Táin Arts Centre was extremely busy before the show, with a real buzz and sense of excitement building amongst the audience. Everything moved very smoothly and efficiently. Credit is due to the front of house team, who were warm, welcoming and very organised throughout. I also liked the presentation of the volunteers in their branded ‘We Will Rock You’ t-shirts. It gave a nice sense of professionalism, while also making personnel easy to identify. The choice of classic rock tracks playing before the show immediately set the tone and got the audience into the spirit of the evening. The pre-show announcements, delivered by Khashoggi via the large LED screen, tied in neatly with the futuristic style of the production and had us smiling before the action had even begun.

Directors Terese Dunne and Moya Hodgers did superb work with this production. ‘We Will Rock You’ can easily become chaotic or overblown in the wrong hands but there was real control and clarity to the storytelling throughout. The visual side of the production was particularly strong and the use of the LED screen and animated graphics became a huge part of how the story was told. Comedy was directed extremely well. The show has a very heightened style and needs performers who are willing to embrace the madness of it all. On this occasion, the directors understood exactly how far to push things. The standout moment of the production was ‘No-One But You (Only the Good Die Young)’. It was genuinely stunning. Vocally, visually and emotionally, it became one of those moments where everything simply came together. The staging, lighting, use of the screen, mood and pacing all blended beautifully, creating a highly memorable sequence. The pacing of the show overall was excellent. Scenes moved quickly, the energy never dipped and there was great momentum throughout.

Patrick Dunne did exceptional work as musical director, ably assisted by chorus mistress Irene Dunne. It is difficult to overstate just how impressive the overall musical standard of this production was. Mr. Dunne had assembled a superb group of musicians and the quality of the playing right across the board was outstanding. Choral work throughout the show was magnificent. All through the show, the ensemble produced the most gorgeous harmonies. For me, the standout musical moment of the evening was ‘No-One But You (Only the Good Die Young)’. It was genuinely breathtaking. The lead vocals were superb but it was the choral sound that really impressed. It was one of those rare moments where an audience has no choice but to fall silent and listen. The guitar work was exceptional too, particularly during the many Queen-style harmonised solos. Excellent work from all involved.

There were no fewer than four choreographers working on this production. Tara Gill, Sinead Lightley, Terese Dunne and EJ Dunne obviously worked exceptionally well together as a team because their work was consistently outstanding. What really impressed me was not just the sharpness of the choreography itself but the level of performance in every routine. Every dancer was fully in character and connected to the tone of the show throughout. There was confidence and personality behind it all, which suited the style of show perfectly. ‘Radio Ga Ga’ was a standout. The militaristic marching style, the precision in the lines and the uniformity of movement gave us a very striking opening number. ‘Crazy Little Thing Called Love’ was another hugely enjoyable sequence. The use of levels worked particularly well and the energy created by the cheering and interaction during the dance break brought a real buzz to things. The ten dancers in ‘Fat Bottomed Girls’ brought terrific energy to the stage and the incorporation of fans into the choreography was a bold, theatrical choice. Overall, excellent work from the choreography team who created routines that were consistently imaginative and exceptionally well-executed.

Barry Murphy gave a very assured performance as Galileo Figaro. Mr. Murphy struck a lovely balance between the character’s awkwardness and his larger-than-life humour. His singing was extremely impressive throughout. ‘I Want to Break Free’ featured his beautifully rich tenor vocals, while ‘Hammer to Fall’ and the climactic ‘Bohemian Rhapsody’ showed wonderful power and stamina. He handled the rock vocals so confidently right through the show. Comic timing was very strong throughout and he was well able to ham things up and really point the humour when required.

Katie McCartan is a name worth remembering. At just seventeen years of age, she delivered a remarkable performance as Scaramouche and looked completely at home in the role. Ms. McCartan had wonderful attitude and stage presence throughout. The cutting sarcasm and humour of Scaramouche came across effortlessly and her comic timing was excellent throughout. Her singing was exceptional, not just for her age but for anyone in the role. ‘Somebody to Love’ in particular was hugely impressive. It is a song that demands enormous vocal control but she handled it with great confidence and maturity. An excellent performance from a hugely talented young performer who clearly has a very exciting future ahead of her.

Eoghan McGeough had terrific energy in the role of Brit and was a constant source of life and movement whenever he appeared on stage. This was a very animated performance in the best sense, full of personality, confidence and fun. He had excellent stage awareness and a genuinely cool presence on stage. Comic timing was very sharp and he delivered dialogue with confidence and clarity. Musically, he was most impressive. ‘I Want It All’ showed his excellent vocals at their best, packed with energy and attitude.

Naoise Duffy gave an outstanding performance as Oz and brought huge energy to her portrayal. There was a real spark to this performance, helped enormously by her superb movement and wonderful stage presence. Ms. Duffy was a seriously accomplished vocalist. ‘No-One But You (Only the Good Die Young)’ was simply beautiful and was, for me, the high point of the production. Ms. Duffy also handled the comedic side of the role extremely well. Her timing was very sharp throughout and she delivered dialogue with confidence and ease.

Neil Farren made a very strong impression as Khashoggi and brought exactly the kind of commanding presence the role needs. Moving through the action with an air of control and authority, he really suited the cold, corporate world of Globalsoft. There was something wonderfully slick and slightly menacing about his performance but he also understood the comedic side of the role and kept that balance very well. Musically, he had a strong baritone voice which suited the role well. ‘A Kind of Magic’ was impressive, while ‘Seven Seas of Rhye’ showed both his vocal ability and strong stage presence.

Brooke Rafferty Shaw was excellent as Killer Queen and completely embraced the outrageous, over-the-top nature of the role. She carried herself with a wonderfully dystopian sense of glamour and authority throughout, striding through scenes like somebody who genuinely believed the world revolved around her. Vocally, she had some very strong moments. ‘Killer Queen’ allowed her to really let loose, showing off her superb voice so well. ‘Fat Bottomed Girls’ was another highlight, with great confidence and control throughout. Her performance in ‘Another One Bites the Dust’ was especially impressive vocally. The power in her lower register at the beginning of the song immediately grabbed the attention and was one of several moments where she showed just how accomplished a singer she is.

Tony Markey was very funny as Buddy, or to give him his full title, Buddy Holly and the Crickets. He brought great personality to the role and had a very easy connection with the audience. He was very comfortable breaking the fourth wall, adding hugely to the show’s fun. Mr. Markey’s comic timing was superb. His horror at the possibility of being sent to Euro Disney was hilarious and his response to the idea of singing a cappella was suitably over-the-top and very funny. But there was more to the performance than just comedy. Mr. Markey also sang beautifully and brought real heart to the role when needed. ‘These Are the Days of Our Lives’ was especially well performed, with a gorgeous sincerity.

Emiliano Vazquez made the most of his cameo appearance as the Teacher and clearly enjoyed his moment. This was an animated performance, perfectly suited to the exaggerated style. A relatively brief role but one which made a strong impression.

The ensemble was exceptional and was a huge part of the success of the show. There was a very impressive level of discipline and focus which never dropped. Production numbers were performed with precision, sharp movement and excellent uniformity. What really stood out though was the level of performance across the cast. Nobody was simply going through steps. They were all fully engaged at all times. Their singing was equally impressive. Whether on stage or offstage, the standard of vocals was consistently high. Dramatically, the cast showed a very strong understanding of the style and humour of the piece. Reactions and interactions always had a purpose. Excellent work from everyone.

Moya Hodgers was stage manager as well as co-director and the connection between those two jobs was very evident right through the show. Everything worked together seamlessly. Scene changes were exceptionally slick. What worked really well was the way transitions were cleverly masked and supported by the use of graphics on the LED screen. Rather than the audience focusing on movement happening on stage, attention was naturally drawn towards the visuals, allowing changes to happen quickly and efficiently without interrupting the flow of the show. The result was a production that moved with real confidence and fluidity throughout.

The set design for this production was very effective. The industrial scaffold structure gave the stage good shape and depth. The use of levels was particularly effective, with performers often positioned on platforms, staircases and gantries. What impressed me most was how seamlessly the physical set and digital graphics worked together. The LED screen was a very important storytelling device throughout and the graphics used were exceptional. Lighting built directly into the set was used in a variety of clever ways, sometimes providing dramatic backlight, sometimes punching musical moments with extra impact and at other times helping create mood and atmosphere within scenes.

The lighting in this production was, quite simply, extraordinary. Indeed, it was some of the finest lighting work I have seen in any production in a very long time, amateur or professional. The scale, imagination and quality was genuinely breathtaking at times. Every cue, every colour choice, every effect and transition had been meticulously planned and executed. Indeed, lighting almost felt like another character within the show. We went from huge rock-concert moments to far quieter, more atmospheric scenes, yet the lighting was always perfectly in tune with whatever the show needed emotionally. The lighting design during ‘No-One But You (Only the Good Die Young)’ is difficult to put into words. It was subtle, theatrical and emotionally intelligent in a way that raised an already beautiful sequence into something truly special. The lighting was beautifully connected to the music and lyrics. Truly exceptional work.

Sound was of an exceptionally high standard throughout. Achieving the right balance in a show like ‘We Will Rock You’ is no easy task given the size and power of the score but on this occasion the mix was always impressively clear and controlled. Important instrumental lines were allowed to shine without ever overwhelming the vocals. Lead vocals were consistently clear and easy to hear, while the ensemble vocals had wonderful warmth. The choral balance was particularly outstanding and added greatly to the overall impact. A really superb job by the sound team on what is a very demanding show musically and technically.

There was excellent attention to detail in the costuming of this show. The wardrobe team embraced the bold, rebellious world of ‘We Will Rock You’ and created a visual style that was vibrant and full of personality. The Bohemians in particular looked terrific. The mixture of tartan, fishnets, leather, ripped fabrics, chains, mesh and accessories gave the group a real sense of individuality and rebellion. In contrast, the more uniformed costuming of the Globalsoft world worked extremely well dramatically.

Props were very well handled and there was some lovely attention to detail. Killer Queen’s throne was an excellent piece and perfectly suited the larger-than-life nature of her character. The jukebox was another standout prop and tied in beautifully with the show’s celebration of musical nostalgia. There were also lots of smaller details. The posters and signage added much to the overall visual chaos. The television set was suitably retro and even smaller pieces were perfectly in keeping with the tone of the production. Excellent work all round from the props department.

Hair and makeup were of a very high standard throughout the show, with cast fully embracing the exaggerated rock aesthetic and futuristic dystopian feel of ‘We Will Rock You’. The Bohemians looked particularly strong. Bold hairstyles, colour streaks and questionable wigs (in a good way!) contributed to a great sense of rebellion. It was edgy and alternative and suited the tone of the production perfectly. Makeup was equally strong throughout the cast. Strong eye makeup and eyeliner aplenty added to the rock concert vibes. Killer Queen’s styling was especially impressive and added greatly to her glamorous, self-obsessed persona. Excellent work from all involved.

SONG’s ‘We Will Rock You’ was a superb achievement and one of the most technically accomplished productions I have seen this season. Every element of the show worked together so seamlessly. Its directors brought great clarity and to a show that can easily lose its way if not fully understood. It had humour, theatricality and more than a little madness but never lost sight of the storytelling or the heart underneath it all. It was a hugely entertaining night of musical theatre delivered with great skill, imagination and heart by a very talented group.

Pat McElwain

Sullivan Adjudicator 2025/2026