Dystopia 26:The Rock Opera
- Deborah Tarrant
- 2 minutes ago
- 2 min read
We saw Dystopia 26: The Rock Opera at the Leicester Square Theatre on Thursday 16 July, ahead of its Edinburgh Fringe run, and it was certainly one of the more distinctive pieces of gig theatre I've seen.
Created by Justin Skelton, who also plays narrator Beldon Haigh, the show blends live rock music, political satire and immersive theatre to tell the story of the rise and fall of President Blame in a dystopian future. Using oversized masks, animated projections, relentless authoritarian imagery and a cast of larger-than-life characters, it explores themes of populism, propaganda, power and the search for hope and happiness in an increasingly divided world. The production is visually striking and unapologetically bold, with an underlying message that music, laughter and community can be acts of resistance.
The performances throughout were excellent. Justin Skelton is an engaging frontman with a strong stage presence, while Fiona Lynch brings warmth, conviction and superb vocals as the rebellious Helen Raiser. Dru Baker is entertaining in the dual role of President Blame and Magnanimous Moon, effortlessly switching between keyboards, flute and saxophone, adding both musical variety and comic flair. Martin Barnaby provides the driving bass as Trump Chicken, JT Stevens delivers some outstanding lead guitar work as Kim Jong Elvis, and Anna Fettes powers the production from behind the drum kit as Polonium Putin. Together, they are an exceptionally talented group of musicians whose chemistry and musicianship are beyond doubt.
The original songs are memorable, varied and performed with real energy. It's easy to see why audiences have connected with numbers such as Elected, Flowers and Happiness, and there is genuine ambition in the way the show combines a rock gig with theatrical storytelling.
For me, however, it didn't quite live up to my expectations. While I admired the creativity, talent and commitment on stage, I found the political messaging rather too obvious and heavy-handed. The satire lacked subtlety, and I felt the production tried a little too hard to make its point, leaving the characters and themes feeling more one-dimensional than I would have liked. I came away wishing there had been a little more nuance to match the impressive musical performances.
That said, theatre is always subjective, and judging by the enthusiastic reaction from much of the audience, many people clearly loved it. Dystopia 26 is a bold, inventive production with exceptional musicianship, and I have no doubt it will find plenty of appreciative audiences during its Edinburgh Fringe run—even if it wasn't quite the experience I had hoped for.
Edinburgh Fringe from 7th to 31st August
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