‘No Time for Losers, Cause We Are the Champions of the World…’ We Will Rock You, Bob Hope Theatre, Sidcup. (Relaxed Performance) 18.04.2926

On a beautiful Saturday morning, I was delighted to be invited to Bromley Players’ relaxed performance of their current run of We Will Rock You. What made it even more special was being able to share the experience with my daughter.

We Will Rock You, written by Ben Elton and featuring the iconic music of Queen, is set in a futuristic world where individuality is banned and all music is controlled by the Globalsoft Corporation. A group of rebels known as the Bohemians believe in the lost art of rock and search for a prophesied “Dreamer” who can bring it back. When outsiders Galileo and Scaramouche join their cause, they embark on a quest to rediscover real instruments, overthrow the oppressive regime, and restore rock and roll to the planet.

This musical has been my favourite of all time ever since I first saw it in the West End at just 13 years old, so it holds a particularly special place for me. Because of that, it was genuinely exciting to see amateur theatre companies given the opportunity to stage such an iconic show. What really caught me off guard, though, were some noticeable changes to the story compared to the original script, and I found myself wondering whether these alterations were introduced in the most recent professional production or if they were specific choices made for this amateur version. For those who know the show well, these differences may feel a little confusing or slightly out of place, but for anyone coming to it fresh, they’re unlikely to pose much of a problem.

As this was a relaxed performance, there were also some thoughtful adjustments made to make the experience more accessible, such as reduced sound levels, toned-down lighting effects, and the auditorium lights being kept slightly brighter than usual. This production was clearly designed to ensure everyone felt comfortable, and it was a genuine delight to see the audience fully embracing the experience—whether that meant getting up to dance, enjoying the music in their own way, or lighting up with excitement when they spotted someone they knew on stage. The Bromley Players should be commended for making the show truly accessible and welcoming for all. For my four-year-old daughter, it created a relaxed and reassuring environment where she could enjoy a snack without worry, be a little noisy if needed, and have the freedom to wiggle or get up from her seat. It also made for a wonderful introduction to theatre, allowing her to experience it in a way that felt natural, enjoyable, and completely pressure-free.

That being said, I would have been intrigued to see what the show looked like at its full potential, and whether certain moments might have felt different with their full intended impact. I appreciate that Bromley Players often use lighting to enhance more minimal staging; however, at times the set felt a little plain and limited, which slightly reduced the contrast within the story—particularly in moments where there should have been a clear visual distinction between the clean, corporate world of Globalsoft and the raw, rebellious energy of the bohemian underground. What truly brought the story to life, however, was the cast. Their performances created a clear and effective contrast between the slick, uniform precision of Globalsoft and the individuality of the bohemians, and I particularly loved some of the costume choices for the “band,” which added a real sense of character and fun.

The lead cast was a strong one, each taking on the iconic songs of Queen—some more than others. Stepping into the role of the dreamer Galileo Figaro, Conor Alexandrou very much looked the part, and paired that with impressive vocals that delivered the songs beautifully—performances that I’m sure Freddie himself would have been proud of. Although there were a few microphone issues in Act 1, they didn’t detract from the strength and power of his voice. His acting also grew as the show progressed, becoming more confident as Galileo’s journey unfolded, though it would have been nice to see a little more vulnerability at the start to really highlight that character development. That said, he was still a great choice for the role.

Alongside him, Bethan O’Donnell as Scaramouche matched him with equally strong vocals, delivering her songs with a sense of ease and control. She captured the sarcastic edge of the character well, though at times it felt like there was room to push that aspect even further to fully realise the role’s personality. Their relationship was clearly presented, though it could have been developed further to feel even more convincing; however, vocally they blended beautifully, with each duet showcasing how well their voices complemented one another.

Rockin’ in as the bohemian leaders were Ben Macduff and Alice Kattner as Brit and Oz, a rebellious duo determined to bring back rock and roll. Ben delivered a brilliant Brit, complete with a Scottish accent that suited the character perfectly. Alice, as Oz, won my daughter over the moment she stepped on stage. Her vocals were powerful throughout, especially in No One But You, a song that carries deep meaning for many. She gave it a beautifully strong performance that truly shone. Their partnership worked well, though I would have loved to see a little more chemistry between them to really feel that connection.

Then there’s Buddy the long‑standing bohemian played by Mark Slaughter. He was a joy to watch, landing comedic moments that were clearly well‑received by the audience. A great performance all around.

Stepping into Globalsoft leadership was Laura Whittington as Killer Queen — and what a killer she was. Not only did she have the outfits to slay, but the personality to match. You could tell she relished every moment in the role and delivered it to its full potential.

It was also fantastic to see Bromley Players highlight the importance of understudies and swings, something amateur theatre doesn’t always get to showcase. Michael Flanagan stepped into the role of Khashoggi — sunglasses indoors and all — and performed as though he’d been doing it all week. Without understudies, the show simply wouldn’t go on, and he proved exactly why they matter.

Once again, Bromley Players delivered a strong, joy‑filled performance, especially during their electric rendition of Bohemian Rhapsody. I’m grateful they allowed me to share the experience with my daughter, who left buzzing and begging to come back the next day. I’ll make a theatre lover out of her yet.