Set in the future, the narrative tells of a society wherein ‘real’ music and all instruments are banned, and everyone is forced to resign themselves to the ‘Computer Recorded Anodyne Pop’ (I’ll leave the reader to construct the acronym…) distributed by huge corporations. An interesting concept, and one that obviously attempts to comment on the current status of the music industry, however it was a little slow to start and could perhaps have been told a little more coherently. Saying this, it didn’t impair my enjoyment of the show in any way. With a whole host of Queen hits, the story acts as a catalyst for these monster rock anthems, and you simply can’t fail to be swept along in the tide of enthusiasm and music, relishing the chance to clap along wherever possible.

Put simply, there were no let-down performances in this show. The role of Khashoggi was taken by Jonathan Wilkes, whose performance I feel was somewhat sadly overshadowed by the fact he brought Robbie Williams along to sit in the audience; I doubt any of the screaming girls were focusing much on the show as a result. He took on the role confidently and competently; now a musical theatre stalwart; and it was clear he was relishing the opportunity to play a ‘baddie’.

The show boasts an impressive set, possibly the most audacious a set I’ve seen at the Palace in years, and makes good use of digital media, which only served to reinforce the spectacle aspect. An intentionally daft show, with a script by Manchester University graduate Ben Elton who also directs and choreography by Mancunian Arlene Phillips, it was an event for everyone, Queen fan or not, and seemed very much on home turf.

Fairly sceptical prior to entering the theatre, I will definitely go and see this show again, which is possibly the best recommendation one can give. Ambitious, colourful, unashamedly daft, and with sensational musical performances from each and every cast and band member. Quite simply, the most fun I’ve had at the theatre for years.