Bat Out of Hell: The Musical
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Cititour.com Review
An intelligent book; a memorable score; an outstanding production: these three elements need to come together to create a great musical. Unfortunately for “Bat Out of Hell,” now ensconced at New York City Center for a limited run, it has only one out of three – and that’s pretty bad!
This ridiculously overblown, overlong show is built around the songs of Jim Steinman – primarily those penned for and recorded by his frequently collaborator Meat Loaf – and even in this setting, they hold up well many decades later. Steinman masters rock anthems such as the title song and “All Revved Up with No Place to Go” with equal dexterity as gentle ballads including “Heaven Can Wait” and “Making Love Out of Nothing at All.” And how can one resist his more quasi-operatic creations such as “It’s All Coming Back to Me Now” (made famous by Celine Dion and performed here on a set obviously designed to resemble the one used in Dion’s oft-viewed video)?
One wishes, though, that Steinman had put these songs in service of a more original book than this one, which combines storylines from “Romeo and Juliet,” “Peter Pan,” and “The Lost Boys” to little effect. In some futuristic society, a gang of “chemical mutants” called “The Lost” roam the underground of a city led by the dictatorial Falco (a powerful Bradley Dean – who is also brave enough to appear at one point in a pink metallic Speedo).
Their unofficial leader, Strat (Andrew Polec, a beanpole who sounds a lot like Meat Loaf but looks a bit like Roger Daltrey in his “Tommy” wig) falls hard for Falco’s beautiful, unhappy daughter, Raven (a rather dull Christina Bennington), earning the further wrath of Falco, who’s also dealing with his crumbling marriage to the feisty Sloane (Tony winner Lena Hall, walking off easily with the proceedings with her amazing voice and inventive line readings). However, if we’re supposed to care whether anyone onstage finds eternal happiness, we just don’t. The show’s tone simply veers too wildly from camp to sincerity for it to have any resonance for anyone over 18.
The book’s silliness aside, the entire production is made worse by Jay Scheib’s tone-deaf, over-complicated direction – he seems to be channeling Ivo van Hove on a bad acid trip – Xena Gusthart’s television-inspired, ultra-aerobic choreography, and a truly awful job of sound design by the usually reliable Gareth Owen. The band often drowns out the singers (even Hall, which is quite a feat) or makes Steinman’s lyrics rather unintelligible.
Luckily, a few of the iconic tunes do manage to withstand the mess: Dean and Hall give their all – and then some -- to the legendary “Paradise by the Dashboard Light”; the fabulous Danielle Steers (who sounds a bit like early-70s Cher) and the appealing Tryick Wiletz Jones bring actual passion to “Two Out of Three Ain’t Bad”; and Jones, Will Branner and Jessica Jaunich shine during the under-appreciated “Objects in the Rear View Mirror May Appear Closer Than They Are.” Not to mention that, even against your better instincts, you’ll probably feel like clapping along to “You Took the Words Right Out of My Mouth.” As a rule, “Bat Out of Hell” works best during its less-is more sequences.
Indeed, I grew up on this music and was even hoping this show would yield enough pleasure that I might consider a second viewing. While I would do (almost) anything for a chance to revel in my own nostalgia and for my love of Steinman’s classic catalogue, I won’t do that.
By Brian Scott Lipton
Visit the Site
https://www.nycitycenter.org/pdps/2019-2020/bat-out-of-hell
Cast
Andrew Polec, Christina Bennington, Bradley Dean, Lena Hall, Avionce Hoyles, Danielle Steers, Tyrick Wiltez Jones
Open/Close Dates
Opening 8/1/2019
Closing 9/8/2019
Box Office
212-581-1212
Theatre Info
New York City Center
131 W. 55th Street
New York, NY 10019
Map
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