Review: WE WILL ROCK YOU at Stage Palladium Theater, Stuttgart

The current incarnation of the beloved rock musical “We Will Rock You” in Stuttgart arrives on stage draped in an entirely new visual guise. The book, too, feels fresher, more coherent and more comprehensible than before. At the heart of it all, naturally, are the immortal songs of Queen — the audience is truly having a ball in this show!

Since 2004, the Queen musical “We Will Rock You” has been making the rounds across German stages, repeatedly dusted off and revived for audiences devoted to light entertainment and the iconic songs of Freddie Mercury. Admirers of complex storytelling, meanwhile, have generally tended to avoid the piece with consistency. For the current revival, Ben Elton has fundamentally revised the book, implementing considerably more substance and a sharper connection to contemporary reality. The far-removed story of the messianic Galileo, destined to restore music and creativity to the world, feels markedly more grounded in this version of the musical thanks to its relocation into a cyber-dystopian landscape in which young people have devolved into smartphone zombies endlessly swiping through social media: likes matter more than friendship, trends overpower individuality, genuine emotions hide behind influencer personas. The storytelling feels more coherent and accessible — the motivations of the characters become tangible, and the audience is able to follow the journey of Galileo Figaro, Scaramouche and their newly formed clique far more closely. Only in the second act does the musical still lose itself in unpredictable, far-fetched plot devices, though the newly strengthened narrative foundation absorbs much of the impact.

The iconic songs remain in English, while Wolfgang Adenberg’s dialogue is retained in German. The humour of the piece thrives on parodic references to contemporary pop culture and lyrical nods to German Schlager, Neue Deutsche Welle and 90s pop. Hashtags and cringe moments make their way into the scenes; alongside Whitney Houston and Tina Turner, the Bohemians now also invoke Avicii, Lady Gaga and Taylor Swift — and there is even a surprisingly pointed joke about the Covid pandemic. Fabian Aloise’s choreography is nothing short of sensational: borrowing movements from countless iconic concert performances ranging from Tina Turner and Madonna to K-pop influences, the choreography crackles with energy. Clean-lined formations and the constant interplay with synchronisation create striking visual tableaux.

The lighting and projection design is loud, dystopian and distinguished by its use of laser effects and massive LED video projections, firmly situating the setting within a sci-fi future. The visual aesthetic of the production — further elevated by its flamboyant yet consistently fashion-forward costume and wig design — becomes a highlight in its own right. Another principal character, metaphorically speaking, is the mighty sound design, which throbs and sends waves of energy crashing through the auditorium. Boris Ritter guides the band, made up of passionate rock musicians, with virtuosity through the sometimes upbeat-stylised, sometimes genuinely balladic rock numbers.

Nicolas Christahl shines through precise vocal and physical comedy in the uproariously funny role of Tazer. His “I Want It All” is punchy and evolves into a genuine showstopper moment. Alongside him, Helena Lenn’s Meat emerges as the ideal counterpart to Tazer, delivering powerhouse vocals and fiery passion. Her “Only the Good Die Young” sparks storms of enthusiasm. Michelle Bergé portrays an eccentric, vicious school principal working for Zuckermusk, who is interpreted with expressive flair by Christian Schöne. The Killer Queen’s henchman reveals himself as a gifted character actor, balancing caricature and antagonism simultaneously. A moment of pure theatrical gold arrives when he frantically attempts to flee from his boss during “Another One Bites the Dust.”

Reinwald Kranner’s Pop is rock incarnate, yet through his distinctive diction and deliberate performative choices he also demonstrates remarkable dramatic finesse. His “These Are the Days of Our Lives” reveals vocal qualities reminiscent of Meat Loaf — stirring, powerful and deeply moving in equal measure. The thirteen-member ensemble, required to shift seamlessly between Gaga Girls, Bohemians and iPlanet stormtroopers, performs with unwavering precision in energy, vocals, dance and expressiveness, contributing decisively to the overall impact of large-scale ensemble numbers such as “Radio Ga Ga” and “One Vision” and their accompanying choreography.

As Killer Queen, Marle Martens serves pure fierceness and gloriously exaggerated villainy. Her rendition of “Don’t Stop Me Now” showcases not only her formidable belt-driven vocals but also her comic instincts. Sjoerd van der Meer, alternating in the role of Galileo, brings an attractively androgynous nuance to his emphatically charismatic performance. His Stage Presence captivates, while his self-aware, low-key comedic timing lands effortlessly throughout. His chemistry with Scaramouche is both passionate and hilariously charged — especially in the argument scenes of the second act, which leave scarcely a dry eye in the house. Both his “Bohemian Rhapsody” and “We Will Rock You” are interpreted with expressive intensity and vocal power. The production’s crowning highlight, however, is Isabel Waltsgott as Scaramouche: armed with an apparently inexhaustible vocal range, spectacular riffs and tremendous dramatic temperament, she captivates throughout — above all in “I Want to Break Free” and the delightfully comic rendition of “Under Pressure.”

This new incarnation of “We Will Rock You” convinces across the board and should not be missed.

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2026 Theater Fans' Choice Awards - Live Stats

Best Sound Design - Top 3

1. Adam Fisher - The Lost Boys

36.2% of votes

2. Tony Gayle - Two Strangers (Carry a Cake Across New York)

10.7% of votes

3. Kai Harada - Ragtime

7.2% of votes

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