Ad disclosure: We were provided with press tickets for the purpose of this post.
The past two years we have really enjoyed and been impressed by the performances that BMOS Musical Theatre Company have put on at the Alexandra Theatre in Birmingham, and yesterday evening we left the theatre just as thoroughly entertained and wowed as on our previous visits. Taking on a score packed with some of Queen’s most iconic songs is no small challenge, but the company proved more than up to the task.
All four of us attended the press night, and we unanimously agreed that this was a five-star production, made even more impressive by the fact that the talented performers on stage are amateurs. BMOS have a long history, celebrating 140 years of entertaining audiences in the Midlands this year, and their latest production is a fantastic celebration of the power of music.
We Will Rock You is a jukebox musical written by Ben Elton, incorporating many of Queen’s biggest and most memorable hits, including We Are the Champions, I Want It All, I Want to Break Free, A Kind of Magic, and more – albeit with moments of reworked lyrics to allow them to fit with the plot. Of course, their most famous song of all time, Bohemian Rhapsody, is also included, with a full-company performance sending the audience off in style at the end of the show.
Set three hundred years in the future, the show tells the story of Galileo and Scaramouche as they escape the clutches of the global corporation that rules the iPlanet, Globalsoft, to join the rebel Bohemians in the fight against Killer Queen and embark on a mission to rediscover the power of rock music. Musical instruments are forbidden, with only AI-produced soulless music allowed. Free thought and individuality are not permitted in this dystopian future – only the dreamer can bring freedom back to the people of iPlanet.
The book is peppered with pop culture and musical references, with many of the most famous song lyrics of all time incorporated into the dialogue, along with a number of notable names being adopted by the rebels to honour the musical heroes of the past. The cast did justice to the level of comedy, with excellent delivery of the funniest jokes and perfect comic timing. I know critics of the show call it too cheesy and full of “dad jokes” – but I’m afraid I unashamedly enjoy that kind of fun humour – and so did the rest of the audience.
The set featured a raised platform and staircase at the rear of the stage, allowing performers to make effective use of different levels throughout the production. This added visual interest to the staging and helped keep the action dynamic, always giving the audience something interesting to focus on. The backdrop also featured a huge video screen covering much of the upper stage, allowing the creative team to use a variety of video content in the storytelling and quickly transition between scenes. Futuristic neon-filled graphics created the polished Globalsoft settings, while run-down, gritty backdrops helped establish the underground rebellion locations.
In addition to the fixed features, a lot of different set pieces were rolled on and off the stage. They had some visually impressive sets and props for an amateur production, with everything from a motorbike to glowing laser-etched acrylic screens. The production embraced a vibrant neon colour palette of purples, pinks, blues and greens, helping to create a futuristic cyberpunk aesthetic throughout.
Clever use was made of a series of large LED-lit rectangular frames that were constantly being moved around the stage and glowing white, red, or green. In one scene they would become passages, alcoves, and doorways in a corporate maze-like building that the characters were sneaking through while trying to evade the Globalsoft goons, while in another they became doors surrounding the stage that “closed” by glowing red as a character desperately tried to escape their fate. The lighting design was particularly effective, bathing the stage in vibrant neon colours and helping to establish the show’s futuristic world while adding plenty of atmosphere to the larger musical numbers.
The costumes were just as varied and impressive as the sets, with a mixture of white and black outfits accented with pops of neon colour for the brainwashed corporate Globalsoft characters, and much more individual rock-inspired outfits for the rebel underground. I loved some of the wigs too – the Globalsoft Ga Ga Kids and the Yuppies had long sleek neon ponytails, while the rebellious rockers sported a variety of impressive and colourful spiked, braided, and wonderfully over-the-top hairstyles.
As for the cast, they were outstanding, with several performances easily matching the standard of many professional productions we have seen grace the Alexandra’s stage. Charlotte Jarvis was phenomenal as the lead female, Scaramouche, delivering an astounding performance of Somebody to Love that earned a huge round of applause from the visibly impressed audience. Dan Smith was also a vocal powerhouse, taking on some of the most challenging vocals in the show and performing them superbly. His rendition of We Will Rock You was fantastic, and he also wowed the audience with I Want to Break Free.
Fiona Farnsworth made an excellent evil overlord as Killer Queen, with a particularly impressive performance of Another One Bites the Dust, while Robbie Love was a fabulous (and delightfully melodramatic) villain as Khashoggi. We’ve seen Robbie as Willy Wonka and Javert in previous years, and his voice and acting were just as strong this time around as he hunted the underground rebels in an effort to stop rock music from being unleashed on the world. I also particularly enjoyed Gavin Whichello, Heaven Okah, and Mike James’s performances as some of the most prominent Bohemians.
The rest of the cast, including the large ensemble, were excellent both vocally and in their execution of the choreography. The ensemble numbers were particularly impressive, with rich harmonies helping to bring Queen’s music to life. We were all really impressed with the amount of local talent on display, and it was clear how much dedication and hard work had gone into bringing the production to life.
The live band were excellent, and of course they had wonderful material to work with – Queen’s music will forever be iconic, and they definitely did it justice last night. It isn’t an easy score to perform, but the band and cast pulled it off brilliantly. The technical team also did a fantastic job; in fact, there were fewer technical issues in this amateur production than in the professional tour of Annie that we saw last week.
The musical was well paced, with no moments where the audience seemed to lose interest. Some of the songs were an all-out spectacle with well over a dozen performers on stage, while others were performed more simply but were no less powerful. There was even a touching moment when the Bohemians honoured the great rock stars who had “died young” (although the shape made during the tribute by the candles on the stage floor was lost on those of us in the stalls), and another equally emotional moment during the finale performance of We Are the Champions. The audience was clearly entertained from start to finish, with plenty of laughter throughout the performance and a well-deserved standing ovation at the end.
The only thing that detracted from the show for me was the unfortunate behaviour of some of our fellow theatre-goers. The gentleman sat in front of us spent part of the performance chatting on WhatsApp, with the bright screen proving a constant distraction, while someone a few rows back repeatedly sang along loudly enough to be heard throughout the auditorium. There were certainly moments where audience participation was encouraged (I’m sure you can guess which songs prompted plenty of clapping along!), and Freddie Mercury’s famous Ay-Oh call-and-response naturally invited everyone to join in. Outside of those moments, however, I firmly believe audiences should leave the singing to the performers on stage.
★★★★★
BMOS have once again demonstrated why they are regarded as one of the Midlands’ leading amateur theatre companies. Combining outstanding vocals, impressive production values, excellent choreography, and a hugely talented cast, this production of We Will Rock You is a thoroughly entertaining celebration of Queen’s music. Funny, energetic, emotional, and visually impressive throughout, it captivated the audience from start to finish and easily earns a five-star rating from all four of us.
We Will Rock You is on at the Alexandra until Saturday 13th June, and with ticket prices starting at less than £20, this is a fantastic opportunity to enjoy some great rock music, a good story, and a talented cast of local performers. The show runs for just under three hours, including the interval and extended curtain call.
Lydia says: It was brilliant, especially for an amateur performance! All the singers were incredible, particularly the actress of Scaramouche, who sang beautifully. I thoroughly enjoyed the several duets with her and Galileo as well, who was also a fantastic singer. I loved the way they incorporated the screen, as it really immersed you in the storyline. Of course, the songs were all amazing, but that comes as no surprise. It was incredibly impressive how well they performed, as it’s not an easy show by any means and QUEEN songs are quite hard to sing. Considering it wasn’t a professional show, the minute number technical glitches (especially compared to Annie last week) and overall performance was astounding and I loved the ending.
Georgie says: The show was full of energy, and had some incredible scenes and actors. There were very few noticeable technical issues, and the constant pop culture references kept the mood fun and light, which blended well with the plot.
