We Will Rock You, from Ben Elton and Brian May, is set in 2302, on an Earth where all music is computer generated, and regulated by the capitalist totalitarian rulers, Globosoft. The premise is instantly recognisable: in Simon Cowells music industry, the talent of the individual is becoming increasingly irrelevant. Unfortunately, there are only a small handful of Queen songs which fit, Break Free, One Vision, and Bohemian Rhapsody. Beyond this simple idea, there is little more to the plot, so your view of the musical will be almost entirely subject to your love, or otherwise, of Queen.

The musical is densely packed with songs, performed with loyal adherence by the band to Queens originals. However, the plot twists in lots of unlikely directions to accommodate them. This is clear in the romance between Galileo and Scaramouche, which is shaped so as to provide Scaramouche with some weak sexual innuendos, funny at first but which quickly tire, and to accommodate famous tunes which wouldnt fit anywhere else, such as Hammer to Fall. The love story itself is implausible, too abruptly changing direction. The two leads chase each other pointlessly round the stage, looking unconvincingly querulous or desirous.

More exciting are the scenes with Brenda Edwards playing the ruthless Killer Queen, who steals not only the best songs, but the biggest costumes, and is accompanied by the grandest set pieces in dance and design. The Globosoft scenes are futuristic, sleek, and shiny. One Vision, opening the second act, exemplifies the backdrop of moving digital panels, portraying the consumerist culture age. It is also used to great affect in Khashoggis torture fest scene, with the number Flash. These digital-age scenes, conducted in the bright colours of the manufactured world, contrast to the faded grunge-rock style of the Heartbreak Hotel (derelict underground station) scenes. The most memorable piece by the Bohemians is Meats solo rendition of No One But You, a poignant tribute to all the dead rock stars the musical champions.

The issues about modern music are thought provoking, but the weakness of the story does not do them justice. The variable suitability of song and plot means that the show will not be as enjoyable for strangers to Queen, who will find the songs largely irrelevant. Teenage and adult fans of Queen will all enjoy it, though this is with greater thanks to the merit of Queen themselves, as the talent behind the songs, than Ben Elton, who wrote the story.