We Will Rock You Spoiler-free Review

We Will Rock You - Bohemian Cast - 9 out of 10 stars
Pelican Productions

Tickets: We Will Rock You Tickets | TryBooking Australia

As the stomps and claps echoed long after the finale, one thing was clear: rock is very much alive and well.

When audiences walk into a jukebox musical built on the catalogue of a band as revered as Queen, expectations are high. We Will Rock You fuses more than two dozen songs into an original, dystopian story that wields satire as sharply as it does rock anthems. This production proves it can capture both the theatrical flair of a Broadway show and the excitement of a live rock concert.

The story is set in a homogenized future where creativity has been replaced by conformity under the rule of “GlobalSoft” and its tyrannical dictator figure, Killer Queen. Against this backdrop of cultural sterility, the Bohemians long to rediscover the lost magic of rock and roll. It’s a premise that allows Elton’s witty script to poke fun not only at society’s obsession with consumer culture but also at the absurdities of modern life, weaving in layered references to music history, pop culture, and even 21st-century social quirks. These asides keep the audience engaged between numbers.

The playful “housekeeping notice” has the audience chuckling, already priming the atmosphere as more rock concert than musical theatre. Preshow and interval soundtracks extend the tone beyond the stage, underscoring the immersive gig-like feel.

While some musicals carefully build towards moments of musical climax, We Will Rock You embraces spectacle as its default mode. The lighting design furthers this aesthetic, filling the theatre with blinding beams, bold colours, and bursts that evoke a live concert. Although spotlight operation wavers and the sound mix sometimes overwhelms the singers with booming tracks, both are hiccups that are forgivable teething issues.

The set is intentionally simple, favouring space and levels for kinetic staging that suits the ensemble-heavy show. At times, the projected backdrops didn’t fit the vibe. Yet the economy of design is deliberate; simplicity ensures the focus remains on the performers themselves.

Credit: Jen Frith

The choreography is consistently tight and high-energy, a standout strength of the production. A 12-member dance troupe anchors the ensemble, delivering nearly flawless synchronisation. Stand-out numbers included “Radio Ga Ga,” “One Vision,” and “Fat Bottomed Girls,” where unity of movement give the songs an extra punch. The troupe clearly relishes the physical demands of the choreography, transmitting that joy straight to the audience.

The heart of the show lies with its misfit protagonists, Galileo Figaro and Scaramouche.

Patrick Longden (Galileo) brought rockstar charisma, channelling hints of Adam Lambert and Sam Smith. His vocal choices often lean into stylisation, adding flair but sometimes muddying lyrical clarity. Nevertheless, his dynamic transition between singing and acting voices enriched the character emotionally. His chemistry with Molineux fuels much of the show’s momentum, particularly in their duets.

Chloe Molineux (Scaramouche) is without question, the breakout star of the night. She delivers a vocal masterclass: moving from delicate soprano passages to fierce belt, sprinkling in riffs and vocal agility. Her performance of “Somebody to Love” has the audience hanging on every phrase. Just as impressive is her dramatic control—using sharp wit and consistent accent work to shape Scaramouche into a grounded, relatable underdog. Her duets with Galileo, including “Under Pressure,” establishes two characters who feel authentically in conflict and alliance, culminating in smouldering chemistry in Act Two. She emerges as a true triple threat: vocally stunning, dramatically engaging, and comically sharp… and Molineux moves too.

Ruling the corporate dystopia is Juliette Keir (Killer Queen). Brazen, larger-than-life, and musically commanding, she struts across the stage as a deliciously camp villain. Her “Another One Bites the Dust” proves a powerful showcase, even as she carefully manoeuvres within a costume occasionally at odds with her movement. Her channelling of “diva-in-charge” energy recalls Broadway villainesses while adding her own confident mark.

Credit: Jen Frith

Opposite her is Lachlan Nash (Khashoggi), the scenery-chewing police chief. His stage presence is irresistibly fun—cocky steps, sly humour, and unapologetic glee. His Act Two rendition of “Seven Seas of Rhye” captures his flair, a comedic highlight where Nash leans fully into the role’s theatrical villainy.

The Bohemian rebels give the show its collective soul. Henry Green (Brit(ney Spears)) and Mady Romijn (Oz(zy Osborne)) displays genuine camaraderie, embodying rebellious bravado and rock grit. Green’s Brit sparkles with cheeky humour and a powerhouse voice when the spotlight finds him, while Romijn’s Oz combines vocal control with raw energy, grounding their duet moments beautifully. Thomas White (Lady Gaga) earns laughs and cheers on his improvised-looking guitar antics, vividly colouring the ensemble with quirky charm.

The Bohemian ensemble deserves a mention for sheer commitment. They often act as living avatars of rock-and-roll mythology, their body language echoing legendary figures and their harmonising vocals sending surges of power through the theatre. They provide both vocal and dramatic punch, filling transitions with vitality.

Credit also belongs to Music Director Michael Griffiths, whose work shapes the evening’s vocal soundscape. Ensemble numbers roar with stadium-like power, yet he creates enough space for leads to stand out with individuality. Harmonies carry both musical accuracy and evocative passion.

The audience match the energy on stage, clapping along at all the right moments and fully leaning into the communal spirit of Queen’s music. Naturally, the titular stomp-clap anthem “We Will Rock You” becomes a joyous exchange between stage and auditorium. Occasionally, a little too much vocal participation came from the crowd, singing along during other numbers—but the spirit is good-natured, even if distracting from the cast’s talent.

Credit: Jen Frith

Few productions boast a finale that feels like an entire show unto itself. This one did. With stunning lighting effects, perfect vocals, and an infectious sense of release, culminating a thunderous applause. It is the euphoric payoff the show demands.

This opening night production of We Will Rock You balances rock sensibilities with theatrical storytelling to thrilling effect. Technical overwhelm occasionally blurs clarity, but these were minor quibbles in a joyous, electric evening dominating with terrific performances and vibrant creative choices.

- Andrew Broadbent