Review: We Will Rock You - Tullamore Musical Society

Society name: Tullamore Musical Society

Show name: We Will Rock You

Adjudicator date of attendance: 20/02/2026

Tullamore Musical Society’s production of We Will Rock You was an ambitious and high-energy take on a show that demands clarity of storytelling, bold stylistic choices, and a strong musical foundation. Set in a dystopian future where individuality and live music have been eradicated, the piece relies heavily on cohesion across all creative elements to ensure the narrative remains accessible. What emerged here was a confident and engaging production, underpinned by strong performances and a clear sense of theatricality.

At the heart of the production was Chris Corroon’s direction, which provided a strong and cohesive framework for the entire show. From the outset, there was a clear concept in place, and importantly, it was sustained throughout. The storytelling remained easy to follow, which is no small achievement in a piece that can often feel fragmented. The narrative flowed with purpose, and the pacing was particularly well judged. There was a palpable energy driving the show forward, with transitions between scenes handled smoothly and efficiently.

Chris demonstrated a keen understanding of how to shape the emotional journey of the piece. High-energy moments were allowed to fully land, while quieter sections were given the space they needed, creating a dynamic contrast that kept the audience engaged. The balance between momentum and stillness was handled with care, ensuring that the show never felt rushed, but equally never lost its drive.

Character work was a standout strength. It was evident that significant attention had been given to developing clear and distinct personalities across the cast. Relationships felt authentic and purposeful, grounding the more abstract elements of the show. The chemistry between characters added depth and credibility to the storytelling.

A particularly inspired directorial choice was the presentation of Killer Queen in drag. This added a rich layer of theatricality and humour, aligning beautifully with the flamboyant, camp sensibility associated with Queen’s music. It was not simply a visual decision but one that fed directly into character dynamics and storytelling.

Comedy throughout the show was handled with confidence. Timing was clearly prioritised. There was a strong awareness of audience reaction, and actors were well directed in holding for laughs, creating a natural rhythm that never felt forced. This contributed significantly to the overall enjoyment of the piece.

The use of the set within the direction was also particularly effective. It was not simply a backdrop, but an active storytelling tool. The space was used cleverly to delineate the contrasting worlds within the narrative, with staging choices reinforcing rather than distracting from the story. Overall, this was a thoughtful, energetic and well-executed piece of direction, demonstrating a clear and confident directorial voice.

Musically, the production was in safe and capable hands with Enda O’Connor. The band delivered a strong and energetic performance, capturing the essence of Queen’s iconic rock sound while maintaining control and cohesion. This balance is crucial in a show where the music is such a central driving force, and it was achieved effectively here. Tempos were well judged throughout, supporting both the pacing of the production and the energy of individual numbers. There was a clear sense of musical shape, with songs building and resolving in a way that felt both satisfying and purposeful. 

Vocal work across the cast was strong. Despite a relatively small number of male voices, harmonies were clear and well balanced, a testament to careful musical preparation. The ensemble created a full and supportive sound. Diction was another notable strength, with lyrics delivered clearly and effectively, ensuring that the narrative remained accessible through the music. The overall sound retained the essential “rock” quality of Queen’s music without sacrificing clarity, which is a fine balance to achieve.

Laura Douglas’ choreography was performed with enthusiasm and commitment by the cast, and there was a clear intention to support the storytelling through movement. There was an opportunity to further refine and differentiate the choreographic language within the piece. One of the key thematic contrasts in We Will Rock You lies between the rigid, controlled Cyber World and the freer, more expressive Bohemian environment. While this contrast was present, it could be developed more strongly to enhance the visual storytelling. The Cyber World sequences would particularly benefit from increased precision and sharpness. These characters are intended to feel almost robotic, and this requires clean lines, unified movement, and precise timing. At times, lines lacked clarity and beats were not always hit uniformly.

Conversely, the Bohemian choreography could be pushed further towards freedom and fluidity. The movement here felt somewhat structured and linear, whereas a more expansive and spontaneous approach would better reflect the nature of these characters. Exploring more varied formations and less rigid patterns would help to create a clearer contrast between the two worlds. It is important to note that the choreography itself was well constructed; it simply required further refinement in execution and a more pronounced stylistic distinction. The cast’s enjoyment of the movement was evident and translated well to the audience.

The principal cast delivered a series of strong and engaging performances. James Deegan’s Galileo was an excellent portrayal, supported by outstanding vocals that demonstrated both control and musicality. His characterisation captured the awkwardness and vulnerability of the role effectively, with a subtle stammer adding depth without becoming distracting. His relationship with Scaramouche was particularly well developed, with a believable chemistry that supported the emotional arc of the story. One area for development would be eyeline, as a tendency to focus downward at times limited audience connection, particularly in a raked auditorium.

Aoife Digan’s Scaramouche was a standout performance. Vocally powerful and consistently secure, her singing sat beautifully within her range. Her characterisation was sharp and confident, capturing the sarcasm and edge of the role with precision. Facial expressions were used to great effect, adding nuance and humour, and her accent work was excellent throughout. This was a fully realised performance that combined technical skill with strong stage presence.

John Conroy’s Killer Queen was both striking and memorable. The decision to present the character in drag was executed with confidence and flair, adding a significant layer of theatricality. Vocally strong and controlled, John maintained a commanding presence throughout, embodying the authority of the role. The visual presentation was particularly effective, contributing to a bold and impactful interpretation.

Amanda Cunningham’s Khashoggi was a commanding and well-controlled performance. The choice to cast the role as a woman brought an interesting dynamic, handled with confidence and clarity. The character’s authority and menace were conveyed effectively without tipping into caricature. Vocally strong and well-acted, her performance was consistent throughout, with her demise particularly well executed through effective use of physicality and facial expression.

Barry Dunne’s Brit brought strong energy and physicality to the stage. His connection with Oz was clear and engaging, and their relationship provided both humour and warmth. Vocally, his performance was solid, with an interesting texture maintained through the gravelly quality of his voice. The main area for development lies in the accent. A more neutral or natural approach may better serve the performance.

Sinead Handy’s Oz was a strong and confident portrayal, underpinned by excellent vocal ability. The character was clearly defined, and her energy was engaging throughout. Her relationship with Brit was particularly effective, and her accent work was consistent. This was a well sustained and enjoyable performance.

Malcolm Whelan’s Buddy was warm, charming and likeable. His portrayal made the character easy to connect with, and he delivered some very effective comedic moments. While there were occasional slips in the accent, they did not significantly detract from an otherwise engaging performance.

Among the supporting roles, Joan White’s Teacher stood out as an excellent example of making the most of a smaller part. She brought clarity, character and confidence to the role, ensuring it was memorable and distinct. Strong acting choices elevated what can often be an underwritten role.

The ensemble provided a strong and energetic backbone to the production. Vocally, they created a full and balanced sound that supported the principals effectively. There was a clear commitment to character throughout, adding depth to the world of the show. Movement was performed with enthusiasm, though increased precision would enhance the overall visual impact. Their energy consistently lifted the production, making them a valuable and integral part of the performance.

Stage management, led by Wayne Handy, was slick, clean and efficient. Scene changes were well timed and executed smoothly, contributing significantly to the overall flow of the production.

The set design was both intriguing and effective. The pre-set initially felt somewhat disjointed, with elements that appeared at odds with the clean aesthetic of the Cyber World. The inclusion of fire projection seemed incongruous with the narrative. However, as the production progressed, the functionality of the set became clearer. The design proved to be versatile and cleverly constructed, allowing for the creation of distinct spaces. The moving staircases were a particular highlight, providing dynamic staging opportunities and helping to define different locations. Projections were of a high quality and added depth to the visual landscape. The use of linear glow tape and LED lighting was particularly effective in reinforcing the futuristic aesthetic. The sliding door and use of levels were also well executed. The set ultimately proved to be a strong and well utilised component of the production.

The lighting design was very strong, making effective use of the available rig. Colour choices and shapes added energy and atmosphere, supporting the mood of each scene. Cueing was precise, with well-considered cue points that enhanced the storytelling. At times, the Front of House wash felt slightly dull, and there was a missed opportunity to fully heighten a key rock-and-roll moment towards the end. In “Seven Seas of Rhye,” the red lighting for the cages was effective, though the focus was slightly too wide, catching guards who should not have been highlighted. This is a minor adjustment that could be addressed through closer collaboration between departments.

Sound was generally good, though there were moments where the band overpowered the solo vocals, particularly in larger ensemble numbers. A slight rebalancing would help ensure clarity of solo lines. That said, sound effects, particularly the sliding door and cage mechanisms, were very effective and well timed, adding to the immersive quality of the production.

Costumes were well designed, with strong attention to detail. The styling supported the concept, with clear distinctions between different groups. The alien-like guard costumes at the beginning created a striking visual, though it would have been interesting to see this aesthetic maintained. There was a slight inconsistency among the Yuppies, with most but not all featuring the purple plait; greater uniformity here would enhance cohesion. The Bohemian costumes were particularly strong, rich in detail and individuality, capturing the spirit of the characters effectively. Gaga Girl costumes were also visually appealing and well considered.

Hair and wigs were of a very high standard, well styled and appropriate to the characters, while make-up complemented the overall aesthetic, completing the visual world of the production.

From the moment of arrival, the Front of House experience set a welcoming and efficient tone for the evening. There was a strong sense of organisation, with audiences guided smoothly into the space. The transition from Front of House into the performance space was seamless. It was clear that thought had been given to creating a comfortable and professional environment before the performance began.

Overall, this was a strong and enjoyable production that demonstrated clear ambition, creativity and talent across all departments. With continued attention to detail, particularly in areas such as choreographic precision, accent consistency and technical balance, Tullamore Musical Society is well placed to build on this success and achieve even greater heights in future productions.

Photos by Paul Moore