Few musicals are as bizarre as Bat Boy. It may have flopped on the West End in the early 00s, but
it’s received successful runs both on and off Broadway and has become something
of a cult classic. The mix of surrealism and camp-horror is in abundance in
this production at the Southwark Playhouse for a hilarious performance that’s
at times overwhelming and lacks a certain level of polish in its details.
The plot sounds like something out of a trashy B-movie: a
creature, half-bat half-boy, is discovered in a cave near the fictional town of
Hope Falls in West Virginia and adopted by a family who teach him the ways of
society. But can his vampiric, blood-sucking habits really be tamed? Based on a
1992 article in fictional tabloid Weekly World News, it’s a satire on American pop
culture, ridiculing the nuclear families, fanatical religion and conservative
views of suburban Southern America tucked away in their white picket fenced
houses. Bat Boy himself follows an Oedipal trajectory and the plot hinges on a
somewhat distasteful rape joke, but you can forgive its odd quirks for its amusing
black comedy – the show’s heart is in the right place.
This production continues the cinematic, cartoonish feel of
the plot with projection screens used as a backdrop and somewhat grotesque
acting. The problem is that the show is too noisy – both aurally and visually.
The pounding rock score lacks balance between the musicians and the singers, meaning
lyrics are often difficult to discern (an issue with the venue more than the
show itself - it's too big for the space). More so, the production is visually overwhelming and its pop
cultural references are all over the place. According to the programme, the
time is ‘present day’, yet the costumes and décor are clearly 80s, there are references
ranging from Star Wars to Robin
Thicke’s Blurred Lines, and props
include a Dyson vacuum cleaner and an iPhone. Coupled with some poor quality
animation and some of the worst wigs seen on stage and the already trashy feel of
the show is just that little bit too trashy. The tone is clearly aiming towards
80s spoof (think Gremlins or Little Shop of Horrors), but it’s too
inconsistent here.
If the frenetic visual style is sometimes distracting, the
music is catchy, full of screaming guitars riffs and high octane
melodies (even if the main theme is eerily similar to “One Night Only” from Dreamgirls). There are some suitably muscular voices across the ensemble to match the big sound– most notably Simon Bailey as
the Reverend Hightower – but it’s the quieter moments that most impress. Rob
Compton delivers an oddly believable physical performance as Bat Boy, but alongside
the vocals of Georgina Hagen as Shelley Parker, they together bring some
genuine tenderness in their love duet. Lauren Ward, meanwhile, provides
motherly warmth and a sweet vocal as Meredith Parker. Let’s just forget the rap
number from the first half shall we?
Above all, Bat Boy is
a morality tale that celebrates the outsider and embraces difference – a big
middle finger to American conservatism. If you can buy into its odd style and
sense of humour, there is a hugely enjoyable and comical show here that’s as
loud as it is proud.
3/5
Watch: Bat Boy runs at the Southwark Playhouse until 31st January.
