I have a little bit of a bittersweet history when it comes to Ben Elton’s 2002 jukebox musical jam packed with the music of Queen. As a fan of their music, my dad used to say that it was the only musical he’d willingly go and see with me, but for reasons unbeknownst to either of us, we never pulled it off whilst it was in London all those years, although we’d occasionally drive past the Dominion Theatre and marvel at the Freddie Mercury statue.
When the show was originally touring in 2019, I got Dad and myself tickets for him as a Christmas gift. It was show night, and whilst queuing at the Access Entrance to the Bristol Hippodrome, we were informed that, regretably the show was cancelled in light of the pandemic.
Fast forward to March 2022, and the tour has resumed… although there has been a big change for me personally, as some of you will remember and know my dad passed away suddenly at the beginning of last year. I went through a really rough time deciding whether I still wanted to see this show, and I almost talked myself out of it: “it was our show, he’s not here anymore, I don’t want to spend the whole night feeling the weight of that”, and so on. I’m very glad my other arguement: “it’s Queen sung by some of your absolute favourite folks, you don’t want to miss that, do you really?” won out, because I wouldn’t have changed the experience for the world. The atmosphere and buzz in the theatre was insane and it reminded me of how great music by the likes of Queen is still so loved and rightly cherished and can create an awesome sense of community, and that’s something I think only certain shows manage to do really well.
Now celebrating its 20th anniversary, Ben Elton’s story of a dystopian future where music is nonexistent and any sense of freedom or individuality is quashed by an evil corporation headed up by Killer Queen and her minion Khashoggi, is one I found a bit tricky to get my head around. On the one hand, certain things didn’t really land for me in terms of the humour (I could quote the punchlines to many a joke before the performers even got there and that gets tiresome for me) or they’re so cheesy I was tempted to cringe more than laugh, and I’m sorry, I know this show and indeed Queen were around first but for me the whole “Bohemians” element is now lovingly associated with another show, but on the other there was something oddly potent about watching a show about a future and you can see some of what they’re touching on reflected in the times we’re living in (be that the pandemic or politically!) With that strange sense of conflict I had going on, what I realised soon enough is how… self aware the piece is, and if you just embrace the joy and often sheer ridiculousness of it all, it’s a heck of a fun ride…
Let’s just be honest then, we aren’t here for a hard hitting script (although there are some gorgeously tender moments), we’re here for the music, and the Queen catalogue is here in the hands of a gloriously sung, enthusiastic and talented cast. Hand on heart I do wish some moments were fleshed out a bit more, particularly “Under Pressure” where Scaramouche and Galileo first meet and that some songs didn’t feel so shoehorned in for the sake of it, but when you assemble a cast this strong, it’s easy to feel forgiving and just get swept along.
I’ve felt for the past seven years what a star Ian McIntosh is – ever since his days as Barry Mann in Beautiful. He has such an easy, endearing charisma about him that I was absolutely overjoyed to see at last in a leading role: he had the audience rapt with every note he sang and this fan was just so pleased for and proud of him.
Opposite him we have Elena Skye as Scaramouche, which I can say with total unashamed conviction that if access wasn’t such an issue and I indeed had the vocal ability to carry it off, is now up there with my dream roles. There’s just something about the character I really love: her feistiness and the way she & Galileo banter, plus she gets my favourite Queen number! Elena captured all those elements beautifully and the chemistry between her and Ian is so palpable and fun to watch unfold. I was blown away by her vocal too, and hope that this show won’t be the only opportunoty I have to hear and watch her perform; she commanded my attention every time she was onstage.
Speaking of “commanding” ladies, this show is choc full of them, and just personally that made me smile so much: I’ve said before in my theatregoing how I tend to find myself drawn to the male characters, and it was a lovely change to have that feel a little more even here! Jenny O’Leary serves sass, campy, regularly show stealing brilliance as Killer Queen, with a vocal that left my jaw on the floor: “The Show Must Go On” was a particular highlight of the entire evening! Jenny’s Killer Queen is joined by Adam Strong as Commander Khasshogi, who seems like he’s revelling in the fun of being a villian, and that for me makes it ten times more fun and effective: his comic timing is glorious and as another performer I knew of thanks to friends, I was massively excited to hear and see, and he didn’t disappoint.
There’s a beautifully understated quality to Martina Ciabatti Mennel’s portrayal of Meat, alongside David McKell as Cliff and David Michael Johnson as Brit. The Bohemians have perhaps the most moving sequence in the piece with “No One But You” (Only The Good Die Young), and that hit hard, both in light of my circumstances and in context of the show, but wonderfully so as it proves meaningful amidst the madness the rest of the show rides on!
I loved the colour and personality within the costumes and found the lighting (Rob Sinclair) and video design striking and atmospheric, but was longing for a little more oomph in the set design, wishing it tallied up with the energy and character so present in its cast. Issues I had with the aesthetic and book aside though, the whole thing was pure joy and escapism at its heart, and sometimes, I’m learning lately that that’s all I want from my theatre. I left the building absolutely buzzing and so happy I went, and I’m hopeful Dad was there with me in spirit.
Wheelie Stagey 