Òran Mór has become a hotbed of satirical spectacle with Dystopia: The Rock Opera, a show that transforms audiences into participants in a vividly imagined dystopian world. Decked out in flags and propaganda, audience members are handed their own Dystopian flags, and by the finale, the entire venue is waving them — cheering, laughing, and fully embodying the show’s darkly comic exploration of obedience, spectacle, and the seduction of power.
Written, produced, and performed by Justin Skelton, Dystopia is a hybrid: part rock opera, part political cabaret, and entirely original. Critics have described it as “anarchic, hilarious, deeply musical, and searingly relevant,” and it’s easy to see why.
Skelton fronts the story as Beldon Haigh, a disgraced spin doctor turned reluctant rebel, whose wit and cynicism guide audiences through a world both absurd and familiar. He is joined by Fiona Lynch, whose powerhouse vocals bring fire and humanity to Helen Raiser, a jailed arsonist, and Dru Baker, who effortlessly shifts between the twin roles of President Blame and President Moon while delivering blistering performances on saxophone and keyboards.
The production’s masked band adds another layer of satire, featuring Polinium Putin on drums, Kim Jong Elvis on lead guitar, and Touchy Trump on bass, all wearing eerily lifelike masks of modern authoritarian figures. Combined with the show’s relentless energy and razor-sharp humor, the effect is both hilarious and thought-provoking.
The full band lineup also includes Justin Skelton on lead vocals and guitar, Fiona Lynch on backing vocals, Dru Baker on keyboards and sax, Willie Logan on lead guitar, Duggy Coulter on bass, and Sean Harkins on drums. Their musicianship is exceptional, driving the show’s eclectic mix of rock, pop, and funk across seventeen original compositions. Each song is carefully crafted to provoke, entertain, and satirize, creating a rich musical tapestry that supports the story’s biting social commentary.
What sets Dystopia apart is its immersive and participative nature. The show blurs the line between theatre and concert, turning the audience into an active part of the spectacle. Beneath the humor and political edge, the work carries a resonant message about individuality, freedom, and the pursuit of happiness even in oppressive circumstances.
Visually and musically, Dystopia is a riot: projected animation, pounding anthems, and fearless improvisation collide to create an experience that is at once exhilarating and reflective. It is a political spectacle that is as entertaining as it is provocative, cementing Justin Skelton as a commanding frontman, gifted songwriter, and one of the most distinctive voices emerging from Scotland’s music and theatre scene.
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