Bat out of Hell offers a loud, unapologetic tribute to Jim Steinman’s musical genius amid narrative chaos. Embracing its flaws to entertain, the show is a campy sensory overload. It’s the third evolution of Steinman’s original concept, The Dream Engine – a dystopian, Peter Pan-inspired rock opera. The second iteration, Neverland, was briefly staged in 1977 before becoming the foundation for Meat Loaf’s iconic album Bat out of Hell. In 2017, audiences were introduced to this latest evolution.
Set in the ruined city of Obsidian (formerly Manhattan), the narrative follows Strat, the leader of The Lost – a gang of teens permanently frozen at 18 due to the mysterious ‘chemical wars’. He falls for Raven, the daughter of the tyrannical businessman Falco and his disillusioned wife, Sloane. Naturally, their love is forbidden, and events escalate to dramatic proportions.
Without prior knowledge or a synopsis – none is offered in the program – audiences may struggle to grasp the storyline. Much of the background of this complicated and convoluted plot is laid out in its opening scene, ‘Strat’s Soliloquy’, where Strat introduces himself and Obsidian to the audience. In a new twist, this production has Raven, played by Katie Tonkinson, performing Strat’s Soliloquy– a choice that confuses an already confused storyline right from the start.
Glenn Adamson returns to the role of Strat, having previously toured internationally, and his comfort in the role is evident. In true Meat Loaf style, the ballads are the high points. Ryan Carter as Jagwire delivers incredible vocals, consistently providing welcome reprieves from the show’s noise and chaos. Rob Fowler and Sharon Sexton as Falco and Sloane do their best with shallow characters and tired clichés, but truly shine in ‘What Part of My Body Hurts the Most’ and ‘It’s All Coming Back to Me Now’.
Fowler and Sexton are particularly let down by the costume and stage design – the wealth and power of this Trump and Melania-like couple are not communicated through their cheap costuming. The choice to use road cases as the furniture in Raven’s bedroom does not convey the necessary opulence, nor does having the skyscraper portion of the stage elevated a mere 60 centimetres. These are interesting choices by acclaimed set and costume designer Jon Bausor, whose towering, neon-drenched design for Bat Out of Hell in 2017 was award-winning.
The production is a constant onslaught of sensory overload, that leaves you yearning for the next palate cleansing ballad. The live-feed video projections are a competing element, working against the dynamic choreography, the band on stage, the flame machines and bangs of confetti. The real shame in this overwhelming visual noise is how it detracts from Bat Out of Hell’s quirky choreography (adapted by Xena Gusthart).
Praise must be given to the entire cast, who embrace much of Emma Portner’s original wild choreography with vigour and incredible stamina. The use of handheld microphones, some corded and some wireless, feels odd, and takes the audience out of what small semblance of fantasy they’ve managed to grab onto in this absolutely bizarre fever dream.
Read: Theatre review: The Years, Harold Pinter Theatre
Despite its flaws, Bat Out of Hell seems to be self-aware. It is tongue-in-cheek camp; it knows its place in the musical ecosystem and doesn’t aspire to be a ‘good musical’ in the traditional sense. Instead, it revels in excess, knowing exactly what it is and who it’s for. If you’re after nuanced storytelling, look elsewhere. If you’re sensitive to the jejune bordering on gauche, run. For Meat Loaf fans, it’s a must-see. And given the standing ovation received from about half of its spectators, there are plenty of eager Meat Loaf fans out there.
Bat out of Hell
The Alexandra, Birmingham
Director: Jay Scheib
Musical Supervisor and Additional Arrangements: Michael Reed
Additional Choreography: Xena Gusthart
Set & Costume Designer: Jon Bausor
Video Designer: Finn Ross
Lighting Designer: Patrick Woodroffe
Sound Designer: Gareth Owen
Cast: Glenn Adamson, Katie Tonkinson, Rob Fowler, Sharon Sexton, Georgia Bradshaw, Ryan Carter, Carla Bertran, Luke Street, Carly Burns, Leo Abad, Peter Camilleri, Joshua Dever, Reece Duncan, Georgia Holland, Georgia Iudica-Davies, Natalie Pilkington, Harriet Richardson-Cockerline, Sophie-Rose Emery, Catherine Saunders, Ethan Tanner, Craig Watson, James Wilkinson-Jones, Beth Woodcock
Bat out of Hell will be performed until 22 February 2025 before touring nationally.
