Lyric Theatre, May 5
With its pumping score of flamboyant, theatrical 1970s hit songs by Queen, audiences have always embraced We Will Rock You, ignoring savage reviews when it premiered in London in 2002 to keep it running there for 12 years. It has now played to over 16 million people in 28 countries (though it’s never made it to Broadway).
First staged in Australia in 2003, the comic jukebox musical is back in a newly revised version – and not only does the production rock its socks off but the lightweight plot, while as unashamedly silly as ever, has a fresh currency in this social media-addicted age.
Written by Ben Elton, We Will Rock You is set in a dystopian future where individuality, creativity and live music are banned. A group of Bohemians, who worship at the shrine of Freddie Mercury in the ruins of a Hard Rock Café, set out to find the legendary hidden axe that will rescue rock ‘n’ roll and save the world.
With the advent of downloadable music, smart phones, Twitter and Facebook, We Will Rock You has proved rather prescient. Elton (who also directs) has added new references to social media and the iPlanet (as the earth is now known) where everyone lives online – all of which resonates today and feels pretty ‘now’.
It doesn’t pay to think too hard about the plot though. If rock music is banned, how come Killer Queen (Casey Donovan), the evil CEO of the ruling Globalsoft Corporation, and her minions still belt out rock anthems, for starters? But if you abandon that kind of logic and just go with the flow the plot carries you along.
Elton has packed his book with zesty one-liners and a litany of cute pop references from Justin Bieber to The Wiggles, as well as a nod to King Arthur and Excalibur. The Bohemians have chosen names from rock legends but have frequently got the gender wrong – so Jaz Flowers is called Oz after Ozzy Osbourne and Thern Reynolds is Britney after Britney Spears. There is the mysterious vid-DAY-o tappy (video tape) and a statue of Mercury with laser eyes, all of which is corny fun, prompting plenty of laughter.
But you still need a killer cast with dynamite vocals and the ability to pitch their performance with just the right knowing, tongue-in-cheek vibe to pull it off – and it gets it here.
As Galileo Figaro, The Dreamer who hears quotes from pop and rock lyrics in his head, Gareth Keegan has a nice, low-key charm and a good strong rock tenor voice that suits the songs. By the time he got to the vocally exposing Bohemian Rhapsody (included as the show’s encore) on opening night, his voice was tired but other than that he proved to be on the money.
Erin Clare is wonderfully sassy as the feisty Scaramouche, who is nobody’s “chick” but teams up with Galileo. Her comic timing has plenty of punch and she really nails her songs with gorgeous, soaring vocals.
Donovan is a vocal powerhouse and every inch the badass villain as Killer Queen, with a new confidence about her as an actor. A couple of the numbers begin a little low for her, notably Another One Bites the Dust, and the sound design could have done more to help, but as soon as she moves out of that lower register she is sensational.
Flowers and Reynolds, resplendent in ratty kilt with bulging guns, are both fierce as rather goofy Bohemians Oz and Brit, with Flowers owning a moving version of No-One But You (Only the Good Die Young). Brian Mannix brings plenty of cheeky dry humour to the unreconstructed old rocker Buddy Holly and the Crickets, while Simon Russell is suitably oily as Killer Queen’s henchman Khasoggi, played like a villain in an Austen Powers movie with a touch of Sasha Baron Cohen about him.
Arlene Phillips’ choreography is inventive and witty with 1970s moves and grooves, and is sharply danced by the ensemble. Tim Goodchild’s costumes are alive with umpteen pop and rock references, while the red hot band does a brilliant job under musical director David Skelton.
Yes, the plot is silly but the music is as glam-fab as ever and the cast deliver; if you go with the flow, the show will rock you.
We Will Rock You plays at the Lyric Theatre until June 26. Bookings: www.ticketmaster.com.au or 136 100
A version of this review ran in the Sunday Telegraph on May 8