Grace Hunt and ensemble members in We Will Rock You
If you’ve ever wondered what a collaboration between George Orwell and Freddie Mercury would look like, you’ll find your answer in We Will Rock You, now playing at the Clinton Area Showboat Theatre. When I got my first look at the set on Friday, I could tell I was in for a dystopian adventure. The tell-tale minimalism and industrial gray instantly gave me a sense of time and gloomy place. By the time the lights had dimmed and the cast appeared on stage, I was immersed in the futuristic world they were creating.
Before getting into the specifics, I’d like to offer a preliminary word about the show as a concept. Remember Steven Spielberg's movie Hook? I love it. But if pressed, I’ll admit that the film has some glaring weaknesses. Despite that, I still consider it a classic. Why? Because it’s based on beloved source material (Peter Pan), and it has talented stars that were able to rise above the mediocre adaptation. To that end, We Will Rock You is Hook’s cyberpunk, musical cousin. Without the timeless music of Queen and gifted actors at its core, this show has no chance of success. Fortunately for us, though, director Lusie Cuskey assembled a cast teeming with talent that showcases these songs to their fullest. So while the story is thin, at best, the performances certainly make up for it.
In the distant future, Earth (now known as the iPlanet) is controlled by the Globalsoft Corporation, headed by the seductively sinister Killer Queen (Grace Hunt). In this new society, only computer-generated music is permitted; musical instruments have been systematically destroyed; and classic rock has been all but erased from memory. Enter Galileo Figaro (Kai Brown), a rebel whose dreams are full of songs he doesn’t recognize. When Galileo meets Scaramouche (Shannon McCarthy), he bonds with her over her refusal to conform with the iPlanet's “Ga Ga Girls.” After escaping the Killer Queen’s minions, Galileo and Scaramouche meet the Bohemians, a resistance movement headed by Britney Spears (Jack Cipriani) and Ozzy (Véronique Chayer), who named themselves after figures from the “sacred text.” When Brit and Oz hear about Galileo’s dreams, they recognize him as the Dreamer who has been prophesied to restore rock music to the world. The Bohemians consequently band together to fulfill the prophecy and help Galileo achieve his destiny.
If this plot sounds needlessly complicated, it is. And in a Queen tribute musical, having main characters that are named Galileo Figaro and Scaramouche seems a bit heavy-handed. But like I said, the main attraction here is the music, and these performers definitely deliver. “I Want to Break Free” sees Brown burst onto the scene with passionate vocals that declare Galileo’s desperation for change. With this one number, Brown gave me all the background I needed to understand his character. Similarly, McCarthy absolutely blew me away with Scaramouche’s debut in “Somebody to Love.” If you’ve ever been tempted to sing this song during a late-night karaoke session, you got maybe halfway through before you started deeply regretting your life choices. Its complex harmonies and vocal runs will either showcase a star vocalist or destroy an amateur. McCarthy proved herself a star. She has enviable vocal control and somehow makes the complicated riffs seem effortless. Like Brown, she also cut to the emotional heart of the song, giving her character more substance than the story offers on the surface.
McCarthy and Brown also had great chemistry with one another, which was obvious during their ardent duet of “Who Wants to Live Forever.” Thanks to Cuskey’s adept intimacy choreography, the scene was believably passionate without heading into Bridgerton territory. McCarthy and Brown’s voices blended nicely, with McCarthy’s soaring harmonies adding even more intensity to the emotionally-charged moment.
But they weren’t the only winning pair, as Chayer and Cipriani had excellent rapport, too. Their interaction was playful but intense like two infatuated teenagers in the throes of first love. And they brought palpable fervor to their duet “I Want It All.” Along with Ryan Scoble, who played Buddy, they delivered the show's finest comedic moments.
I would be remiss not to mention Grace Hunt’s performance. Hunt’s vocal quality is a perfect fit for Killer Queen, particularly when she uses her lower register. She’s the ideal villain: decidedly despicable, but with an undeniable allure. The ensemble also seemed to be at their best when performing with Hunt. Their vocals were strong across the board, but their dancing during “Killer Queen” was at peak energy. They kept that momentum going well throughout the show, although it did seem to flag a bit by the time they got to the closing number. Though, in all fairness, saving “Bohemian Rhapsody” for last seems a little bit like asking Simone Biles to throw in a triple twisting double-tucked somersault at the end of a lengthy floor routine.
In a production like this, where the world of the show is so distinct, creating a visual look that establishes that world for the audience is crucial. Scenic designer Sally Tabaka nailed the assignment. A picture is, after all, worth a thousand words, and the desaturated, soulless environment we get from the opening set provided a more thorough look at life on the iPlanet than any dialogue could. And when the action transitioned to the underground Bohemian headquarters – the “Heartbreak Hotel” – the set transformed into a vibrant location with neon signs and colorful artwork. Sally Tabaka’s costumes were the perfect complement to these two opposing spaces. In the world dominated by Globalsoft, the ensemble was dressed in gray uniforms that underscored their imposed conformity. In the Heartbreak Hotel, the free-spirited Bohemians wore bright colors and patterns. The shift was unmistakable.
Overall, if you appreciate talented vocalists, enjoy tongue-in-cheek musical references, and, especially, can rock to some classic Queen, let me put you Under Pressure to head on down to the Clinton Showboat's We Will Rock You for A Kind of Magic.
We Will Rock You runs at the Clinton Area Showboat Theatre (311 Riverview Drive, Clinton IA) through July 21, and more information and tickets are available by calling (563)242-6760 and visiting ClintonShowboat.org.
