By Grace Hatchell
We Will Rock You is heading to the Dovehouse Theatre this September, proving once again that you don’t need the West End postcode to put on a show packed with powerhouse vocals, iconic songs and enough air guitar to make the neighbours nervous.
West Midlands amateur company Obsidian Theatrical Productions will present the Queen musical from 8-12 September, bringing one of musical theatre’s biggest crowd-pleasers to local audiences. If you’ve somehow managed to make it through life without singing along to Don’t Stop Me Now or Somebody to Love… firstly, how? Secondly, this may be the perfect remedy.
Performances take place at 7.30pm from Tuesday 8 to Saturday 12 September, with an additional Saturday matinee at 2.30pm at The Dovehouse Theatre in Solihull.
A rock musical with a rebellious streak
Set in a dystopian future where live music has been outlawed by the powerful Globalsoft Corporation, We Will Rock You follows outsider Galileo as he discovers he may be destined to bring rock ‘n’ roll back to the world.
Joined by a band of rebels, Galileo embarks on a mission to overthrow the fearsome Killer Queen and restore the power of live music. It’s wonderfully bonkers, completely unapologetic and exactly the sort of musical that asks audiences to leave realism at the theatre door. Personally, I think that’s half the fun.
Of course, the real stars for many audience members will be Queen’s legendary songs. Filled with iconic anthems, unforgettable characters and plenty of larger-than-life moments, the musical promises an evening of laughter, nostalgia and singalong-worthy hits. Just maybe resist turning the theatre into your own personal Wembley Stadium… at least until the curtain call.
Meet the cast
Leading the production is Samuel Turner as Galileo alongside Hannah Thomas as Scaramouche.
Emma Davies takes on the deliciously villainous role of Killer Queen, with Richard Bateman appearing as Khashoggi, Mary Butler as Oz, George Haughie as Brit and Terry Deering as Buddy.
Supporting them is an ensemble featuring Alice Bennett, Beth Rawson, Bethany Waller-Scott, Callum Byrne (understudy Brit), Georgia Harley (understudy Oz), Harry Clapham, Miya Mitchell (understudy Killer Queen), Natalia Malart, Robert Bateman and Sarah Jennings.
I’ve always had a soft spot for amateur theatre because everyone on stage is there for one simple reason: they genuinely love it. Nobody’s checking their watch thinking about the next film contract. They’re there because they want to tell a story, entertain an audience and probably survive a very quick costume change without losing a shoe.
Behind the scenes
The production is directed by Robert James Bateman, whose previous directing credits include Return to Forbidden Planet, Spring Awakening, Dogfight, Pippin, American Idiot and Rock of Ages, alongside numerous productions with St. Alphege Musical Production Society.
Musical direction comes from Phil Ypres-Smith, whose impressive CV includes Honk!, Spring Awakening, Dogfight, Pippin, American Idiot and Rock of Ages. He is also co-founder and resident composer and arranger for B’Opera, which creates interactive musical performances for babies, toddlers and their grown-ups. That’s quite the range — one week Queen, the next entertaining toddlers. I suspect the toddlers may actually be the tougher audience.
Choreography is by Bethany Waller-Scott, who previously choreographed Rock of Ages and American Idiot for Obsidian Theatrical Productions and has also created award-winning routines across lyrical, contemporary, jazz and commercial dance.
Championing ambitious amateur theatre
Obsidian Theatrical Productions describe themselves as a West Midlands-based amateur theatre company dedicated to bringing more obscure and thought-provoking shows to local audiences. Previous productions include Spring Awakening, Dogfight, Pippin, American Idiot and Rock of Ages, alongside a number of concerts.
Now, I know what some people hear when they read the words “amateur production.” They immediately assume “school assembly with better lighting.” Honestly? They couldn’t be more wrong. Some of the most exciting theatre I’ve seen has come from companies powered by passion rather than enormous budgets, and titles like Spring Awakening and Dogfight certainly suggest Obsidian aren’t afraid of taking on ambitious material.
With Queen’s catalogue, an enthusiastic company and a story that celebrates the power of live music, this September’s production looks set to be exactly the sort of evening that reminds us why community theatre continues to thrive. And if you leave without humming We Are the Champions all the way home… I’ll be very surprised.
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