Bat Boy: The Musical - Review

Southwark Playhouse, London

***

Music and lyrics by Laurence O'Keefe

Book by Keythe Farley and Brian Flemming

Directed by Luke Fredericks

Rob Compton

Much like the winged mammal of its title, Laurence O’Keefe’s Bat Boy: The Musical is a rarely spotted show. A shortish run off-Broadway in 2001, followed by a 2005 early closing at London’s Shaftesbury Theatre mark its chequered past. Director Luke Fredericks however, garnered critical acclaim last year with a fringe Carousel at Dalston’s Arcola, so it is an intriguing prospect to see how he fares south of the river and taking on this eclectic look at super-sensationalised vampirism in small-town USA.

In a story intended as a comic-book style allegory, Rob Compton plays the Bat Boy, a speechless creature discovered in a West Virginia cave, who is to upturn the lives of local townsfolk. Compton’s performance is well crafted. From a speechless embodiment of his freakish character in the initial few scenes, he develops his capabilities, going on to stretching his bat wings with ease. From vulnerability through to a sheer unaware stupidity, he performs with a conviction matched only by faultless vocals, notably in Let Me Walk Among You and later with Inside Your Heart, a duet sung with Lauren Ward playing a complex mother figure to him as Meredith Parker.

Ward brings much compassion to her role and together with her daughter Shelley played by Georgina Hagen the two women are often the characters that lift the tale out of a rolling stylised humour and into the raw emotions of its ultimate dilemma. There is a strong mother-daughter chemistry between the pair that cleverly builds towards their respective final revelations. 

The cast are all strong, performing with a tongue in cheek pastiche that makes the full company numbers hilarious, a particular treat being the ever excellent Simon Bailey. His performance as faith healer Reverend Hightower, opening act two with A Joyful Noise, sees Bailey dazzle, not only in his gold shoes and yellow suit but with an infectious zany energy that few can match.

The show however remains a curiosity, with Fredericks treading a careful path that aims for deliberate kitschness while trying to avoid the crass. It’s a tough call that doesn’t always work, with the show’s design by Stewart Charlesworth occasionally seeming tacky. A stuffed toy cow’s head complete with intestines in tow, Barbie doll-like puppets abseiling down the set and an over-sized lethal injection syringe, set a tone that occasionally oversteps the mark.

Nonetheless, Bat Boy: The Musical is another example of the vibrancy of London’s Off-West End theatre scene. Mark Crossland’s well arranged five piece band with Joe McKneely’s imaginative choreography all make for a grand night out and if you enjoy wallowing in that guilty pleasure of kitsch Americana, then its unmissable!

Runs until 31st January 2015

Carousel

Arcola Theatre, London

*****

Music by Richard Rodgers

Book and lyrics by Oscar Hammerstein II

Based on Ferenc Molnar's play Liliom as adapted by Benjamin F Glazer

Directed by Luke Fredericks

Tim Rogers and Gemma Sutton

Producers Morphic Graffiti present a re-engineered Carousel at London’s Arcola Theatre. With the blessing of Rodgers and Hammerstein’s publishers, they have pitched the tale around the time of the Great Depression, with a costume and style that sets the era apart from traditional turn of the 20th century stagings and it’s an interpretation that works, for the sense of poverty and depravation that surrounded the clapboard housed whaling communities of New England has long been a consistent theme of the show.

The time shift however is only an adaptation of style rather than substance. The grand human struggles of love and redemption, crime and endeavour that underpin Ferenc Molnar’s original play have a timelessness that speaks to us today – with perhaps the one exception being the un-conditional love that Julie Jordan feels towards Billy Bigelow whilst demonstrably accepting her lot as the victim of his domestic violence. Julie’s is a love that is tested in a way that is at best outmoded and at worst a misogynist’s charter.

But it remains Julie’s love and Billy’s futile doomed hopes to better himself that are the engine room of this show. Gemma Sutton is Julie and in the intimate cockpit of the Arcola, her expressions of passion and yearning towards her future husband are played out with pinpoint definition. Sutton masks the steel of her character in layers of hesitant tenderness and when this is married to her exquisite vocal work, the fusion is musical theatre bliss. When she sings If I Love You, her take on the complex melody is pitch perfect and later in act two, when her character, faltering, stumbles choked in her grief and unable to sing You’ll Never Walk Alone until Nettie takes over, the poignancy of the moment is at once both exquisite and unbearable. 

Opposite Sutton, Australian Tim Rogers brings an energy to Billy that suggests Hugh Jackman’s Curly, performed at the National Theatre in 1998. Rogers’ technical excellence manifest through his irreverent energy is another treat of a performance rarely found with such intense beauty on London’s off West End theatre scene.

And around these two lead performers beats a company that drips with perfection. There follows a name check of the most memorable, but all the company were no less than outstanding. Vicki Lee Taylor’s Carrie Pipperidge is a confection of perfect poise, presence and tone, whilst Joe Montague’s Enoch Snow nails the humerous foibles of the pompous but ambitious puritanical procreator. Joseph Connor, Katrina Dix and Susie Porter all display a balletic or acrobatic talent that is never less than breathtaking. A twirly-moustachioed Paul Hutton plays all manner of male authority roles with panache, whilst Amanda Minihan never falters as an inspiring Nettie, Richard Kent chills as a spiv Jigger and Valerie Cutko defines the wise yet complex cravings of carousel owner Mrs Mullins

The show’s design is perhaps the most visionary interpretation of low-budget scenery to be found, with the emotional impact of the opening Carousel Waltz reducing me to tears in minutes. The brilliant use of simple gates and boxes, combined with an acrobatic movement of the company that suggested a hint of Broadway’s Pippin is visionary dance work from Lee Proud and amongst all the numbers, Proud’s talent shines. The act two ballet in particular, a challenge to mount on a more generously proportioned stage let alone the Arcola, proving yet another display of masterful movement.

Stripped down to a 5 piece band, Andrew Corcoran gives Carousel’s timeless melodies a makeover. A subtle use of flute and bass is enchanting, whilst the harp accompaniment to You’ll Never Walk Alone is as subtly inspiring as it is heartbreaking.

Luke Frederick has fashioned a production of flawless technique and artistic excellence. Shows this good don’t come along that often and Carousel deserves a West End transfer. Whilst it plays at the Arcola until July 19th, don’t miss it.

Plays until July 19th.