DYSTOPIA – THE ROCK OPERA
★★★★★
‘Political, angry, thought-provoking and always entertaining…’
What the world needs more than anything now is hope, just look at the news. As a new World Order struggles to take hold with despots calling the tune, Justin Skelton’s timely and prescient new musical, Dystopia The Rock Opera, is a raucous collection of songs deftly woven into an emotional voyage of self-discovery and a powerful indictment of the politics shaping society today.
The journey of discovery and self acceptance in question is that of the show’s protagonist, Beldon Haigh, a ‘fallen political fixer and spin doctor’. From his prison cell he chronicles the rise and fall of President Blame (and his billionaire backer, Oli Flashman – sound familiar?) as he determines to ‘Make Dystopia Great Again’. However, with the rise of opposition candidate Magnanimous Moon, leader of the Moon on the Stick party, Blame’s regime begins to crumble and fall. Skelton’s sharply observed and bitingly satirical book ensures that proceedings never become too heavy, offering plenty of laughs throughout.
It’s a multi-faceted, interactive piece in which the audience become the people of Dystopia, rallying to Beldon Haigh’s call to arms for a better life as he narrates the story with the help of his ‘prison band’. And what a powerhouse that band is. While Dystopia may be a rock opera, the score encompasses an eclectic collection of musical styles, from rock to indie, punk to jazz, and soul to funk. Musicianship is the key.
Dystopia The Rock Opera is brought to life by an accomplished six-piece band (also called Beldon Haigh), three of who perform in eerily lifelike masks that provide an unlikely backline of well known tyrants – Kim Jong-Elvis, Polonium Putin and Touchy Trump, performed by Willie Logan (lead guitar), Sean Harkins (drums) and Duggy Coulter (bass guitar), respectively. Each mask is as mesmerising as it is unsettling.
Up front, Skelton’s Beldon Haigh is a charismatic, occasionally tortured soul, with a strong vocals, engaging delivery and an infectious optimism. A glass half-full character. He’s receives good backing from Fiona Lynch as fellow inmate, Helen Riaser, whose rich vocals compliment those of Skelton, and from multi-instrumentalist, Dru Baker, who not only juggles keyboard, sax, trumpet and flute, but also plays breathes life into Blame and Moon in a mischievous performance.
Of the songs, Dumpster Fire proves an iconic opening number that sets the scene for what is to come and instantly has the audience rocking along; Flowers, a poignantly reflective and beautifully tender ballad, packs a visceral, emotional punch; Elected, a smoky, jazzy anthem quickly has the audience singing along with it’s ridiculously catchy refrain, while the soulful allure of Sad Parties is intoxicating. Just four stand-outs in a consistently strong score that displays the collective’s musicality and marks Beldon Haigh as masters of their craft.
Political, angry, thought-provoking and always entertaining, Dystopia The Rock Opera is a biting satire on the reality of life in 2025, and as such is ‘the’ musical for today – one that captures the humanity, resilience and hope that allows us to look ahead with optimism, even in these dark times. Which is why, by the time the final number, Happiness, brings the show to a jubilant close, the audience are up dancing and cheering along – Dystopians no more.
Dystopia The Rock Opera plays Grand Lodge (Venue 7) at the Edinburgh Fringe, 1-16 August, tickets here.
