Dystopia 26 The Rock Opera was reviewed at the Assembly Roxy, Edinburgh. The tour continues until 2 October 2026.
Star rating: four stars ★ ★ ★ ★ ✩
On arrival the audience is welcomed by media distributors: each ticket holder is handed a badge for identification, a flag for waving and printed material with the answers to three questions which must be answered correctly to prove fealty. The stage is framed by nostalgic cartoon images of fear and warning.
This rock opera focuses on the extreme direction being set by the three main global leaders of today. Featuring an extraordinary onstage band, led by Justin Skelton as Beldon Haigh, a failed spin doctor, we have Trump Chicken (Duggy Coulter) on bass guitar, Polonium Putin (Andrew Scott) on drums and Kim Jong Elvis (Willie Logan) on lead guitar. Wearing disturbingly lifelike masks, they are a continual reminder of the world we live in and where it may lead us.
Completing the line up is Helen Raiser, an arsonist rebel, and President Blame who controls the populace through fear and a general zeitgeist of suspicion and treachery. As Helen, Fiona Lynch delivers powerhouse vocals that blend well with Skelton’s voice and Blame, Dru Baker, is a multi-instrumentalist bringing punchy variety to the songs. All have great rapport with the audience, encouraging interaction.
Projected images run throughout this highly accomplished work, changing images that convey the subtext to the actual words sung. The lyrics form part of this continuous display and it moves seamlessly in time with the music. Excellent technical skills create a musical graphic novel that challenges power and control.
Skelton not only leads the band, but is the writer of this show which features 16 original songs tracing the path that controls the people of the world, then imagines how this could be altered. The music is mostly driven rock with a solid beat, underlining the role and responsibility of all citizens. There’s a beautiful ballad, ‘Flowers’, that serves as a lament for Haigh’s father, alongside illustrations that show the breakdown of Haigh’s slavery to the system.
As a new dawn appears with promises of endless happiness and wealth for all, the drawings illustrating the old order are replaced with glossy videos of beautiful, smiling citizens living their best lives. President Blame becomes Magnanimous Moon as the plot continues to its inevitable conclusion.
Dystopia 26 has a lot to say and says it very well indeed. The gig theatre style will appeal to many who would not normally be attracted to conventional theatre and is certainly gathering followers along the way. It’s bound to do well when it returns to Edinburgh for the 2026 Festival Fringe.
Fiona Orr
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