For a long time I've been dissuaded
from seeing this show. A friend had been to see it and told me it
was so bad she cried.
I
was telling this to another friend over a (fairly
average) meal at Jamie Oliver's diner, who seemed surprised as she and her
partner had loved it. I grew up listening to Queen's music, so knew I would
enjoy that aspect at the very least, and with a vacant Saturday matinee spot,
decided to go for it (the ticket being
only £36 helped in the persuasion – thanks TKTS London)
Due
to avoiding the show, I also had never been inside the Dominion Theatre and
what struck me first was how open it was. I imagine that the view is good
wherever you sit, due to lack of curvature and pillars. I was in the centre of
the right block and still had a great view. As a pernickety seat picker, this
venue gets big plus points.
The
curtain rose and with the hangover of a long-held scepticism tinted by a new
hopeful open-mindedness, 12 years into its West End run, I finally got round to
watching 'We Will Rock You'.
My
verdict? I liked it. I liked it in the same way I like ‘Rock of Ages’ – though
I think RoA acknowledges the ridiculousness of the story more. As long as you’re
willing to throw yourself into that ridiculous story and completely suspend
your disbelief, then you’ll enjoy it.
It
is, after all, a jukebox musical - the stories are always flimsy threads barely
holding the songs together. Though, saying that, I think this is one has actually
been fleshed out more than, for example, ‘Mamma Mia’; I’d even go so far as to
say I felt moved, at times. Their dystopian world, where individuality has
disappeared completely into one mass in a digitised, globalised world – that’s
a world which potentially could be our own, eventually. I think you can take a
message away from this show.
It’s
also incredibly silly and funny too. I laughed out loud a few times. Having
seen another of Ben Elton’s theatrical writing attempts in Love Never Dies, I
had my reservations. The problem with Love Never Dies had always been the
flawed story. In jukebox musicals, however, the whole story is usually flawed
from the get go due to having to write a story around already existing music.
There is not a microscope on the details; it doesn’t need to be perfect.
For
me, the standout performances were Alasdair
Harvey as Khashoggi and Rachael
Wooding as Scaramouche. I thought Alasdair had complete command of that
stage whenever he was on and played the part of a slimy jobsworth entirely
convincingly, and Rachael was so spot on with the tone and timing of her
sarcastic quips, while still seeming completely adorable.
I
love the post apocalyptic feel to the set and costumes. The contrast of the
clean, white, sterility of the globalsoft headquarters with the grimy,
disintegrating rebels hideout worked effectively. Though, I did feel that the
revolving platform in Killer Queen’s scenes was slightly overused. Once was
enough.
So,
on a superficial level, for an evening (or afternoon) of enjoyment, no more, no
less, I really enjoyed this show.
Avoid if:- You’re looking for a
strong story with a serious theme. Or, and this should go without saying, if
you dislike Queen’s music
Recommended if:- You’re a fan of Queen,
looking for some light-hearted fun, enjoy dystopian settings and appreciate
funky hair, makeup and costumes
No comments:
Post a Comment