MickeyJoTheatre Podcast – “Bat Boy The Musical (New York City Center) ★★★★★ REVIEW”
Host: MickeyJoTheatre
Date: November 22, 2025
Episode Overview
In this lively episode, theatre critic and YouTuber Mickey-Jo reviews the recent New York City Center Encores! production of Bat Boy: The Musical. Broadcasting from New York during a jam-packed theatre trip, Mickey-Jo shares his first-ever experience with this cult favorite. His infectious enthusiasm for the show’s oddball premise, musicality, and standout performances shines throughout the review, which moves from spoiler-free to spoiler-heavy analysis. He emphasizes why this semi-staged gala presentation stands out—and why he firmly believes it deserves a full Broadway transfer.
Main Themes & Review Structure
- First-time experience seeing Bat Boy—and falling instantly in love with its uniqueness
- Contextual introduction to the show and production history
- Spoiler-free deep dive into story, music, and tone
- Discussion of design, direction, and creative choices
- Spoiler-heavy segment analyzing performances, plot twists, and standout comic moments
- Final impassioned plea for a Broadway transfer, ranking the show as his favorite ever at City Center
Key Discussion Points & Insights
Introduction and Context
Timestamp: 01:39 – 03:32
- Mickey-Jo reveals he’s “extraordinarily late to this particular party” and has just now discovered the cult musical Bat Boy at City Center Encores.
- He contextualizes City Center’s importance as a venue known for high-quality, semi-staged concerts, many of which have led to major Broadway revivals (e.g., Chicago, Once Upon a Mattress, Parade).
- Bat Boy served as City Center’s annual gala and marked the first season under new artistic director Jenny Gersten—a “strong and exciting start.”
- Mickey-Jo details his trip’s aim: catch as many new NYC shows as possible, with Bat Boy strategically scheduled.
Quote:
“Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. You currently find me on location here in New York…” (02:07)
What is Bat Boy?
Timestamp: 04:10 – 07:33
- Gives a primer: Show inspired by a sensational 1992 tabloid story about a half-man, half-bat creature discovered in a cave in rural West Virginia.
- The “Bat Boy,” later named Edgar, is discovered by local kids and entrusted to the town veterinarian Dr. Parker and family (Meredith, Shelley).
- Appreciates the casting of Kerry Butler (original Off-Broadway Shelley, now playing Meredith), and Taylor Trensch as Edgar.
- The Parker family dynamic is explored (“peculiar, if not unfamiliar, waspy kind of a dynamic… a lack of warmth and passion”).
Quote:
“The story is inspired by a weekly World News story from 1992 about the discovery of a sort of a half man, half bat creature discovered in a cave, which is also where the plot of the musical begins.” (04:23)
Tone and Style: Weirdness, Humor, and Heart
Timestamp: 07:00 – 09:27
- Describes the musical as “utterly maniacal,” with a plot that never ceases to surprise.
- Compares it to Edward Scissorhands in narrative and tone (“behavior of society… someone who is different, someone who is maybe perceived as a villain with fear mongering at play”).
- Praises the score by Laurence O’Keefe (Legally Blonde, Heathers) for its “subversive, darkly comic, twisted place.”
- Notes updates: new songs added, tweaked lyrics, more lavish staging than usual.
Quote:
“This is a show that feels like it was written with the methodology of ‘you know what would be the single most bizarre and insane thing to happen to this narrative in the next scene.’” (03:53)
The Music
Timestamp: 09:30 – 12:15
- Highlights the recurring, evocative “Hold Me, Bat Boy” theme.
- Lauds the clever juxtaposition of “achingly romantic and dramatic melody” with darkly satirical lyrics.
- Spotlights “Three Bedroom House” (Act II) as a particularly strong song: a poignant, unexpected mother-daughter duet that exemplifies idiosyncratic musical theatre writing.
Quote:
“One of those moments that I think if people were writing a musical now, they wouldn’t necessarily musicalize because there is no huge justification… some of the most inspired musical theatre songs in history have come at unexpected moments…” (12:15)
Direction and Design
Timestamp: 15:25 – 19:20
- Praises director Alex Timbers’ “fantastic work” and “multi-level set design” by David Korins—particularly the cave-and-fangs-inspired proscenium.
- Costume design by Jennifer Moeller, with frontier town/suburbia hybrid vibes reflecting the town’s shifting identity.
- Special mention: Prosthetics, makeup (Suki Tsujimoto), wigs (Rob Pickens), and props/puppetry (Ray Wetmore, J.R. Goodman)—especially for Bat Boy and the hilariously memorable “Gertie the Cow.”
- Enjoys large-band orchestrations and musical direction (Andrew Resnick, Ben Green), calling it likely “one of the largest bands that has ever played Bat Boy.”
Quote:
“I love, love, love that like acid green yellowish color that was mostly shining from the backdrop throughout. I love the framing of the stage being this cave roof, like sort of stalag tight kind of silhouette structure as well that also looked [like] fangs of an open vampiric mouth.” (15:32)
Spoiler-Free Reflections
Timestamp: 12:45 – 15:00; 19:20 – 20:36
- Champions the show’s readiness for a new wave of popularity, citing current audience appetite for “irreverent, black comedy… this weird factor.”
- Places Bat Boy within the lineage of campy/spooky musicals gaining newfound appreciation—Beetlejuice, Death Becomes Her, and even Starkid parodies.
Quote:
“And Bat Boy, though it’s a little more black comedy than any of the above, I think is now ready to enjoy a period where audiences can welcome it more so than ever before.” (18:42)
Notable Quotes & Memorable Moments
On Discovering the Show:
- “I just saw this show for the very first time at New York’s City Center Encores and I am obsessed. Oh my God.” (02:02)
On the Score:
- “It hits you straight away with this brilliant theme, this ‘Hold Me Bat Boy’ that keeps coming back. It’s sort of haunting and captures… the intrigue and the mystery and the inherent weird romance of the story…” (10:13)
On “Three Bedroom House”:
- “My point is, some of the most inspired musical theatre songs in history have come at unexpected moments when you wouldn’t necessarily need for that song to exist there, but it does. And I think that’s a useful thing for new musical theatre writers to go and revisit…” (12:14)
Spoiler Zone – Plot Twists, Character Arcs, and Performances
Timestamp: 20:36 – 32:17
(Spoilers ahead—skip this section if you wish to remain unspoiled!)
Performances
-
Taylor Trensch’s Edgar/Bat Boy:
- “Wonderful… to begin with, he is non-verbal. He’s sort of Gollum from Lord of the Rings-esque, naked to the waist and crawling at an alarming pace around the space…” (20:43)
- Delivers both heart and comedy; nails transition from wild creature to eloquent, even posh, British-accented speaker.
- “What really made Taylor so fantastic in this role was his understanding of the balance between how earnestly he had to play it with how silly and wacky the material is because he brought nothing but humanity and this real commitment to angst and inner turmoil while at the same time allowing the whole thing to be hysterically funny.” (21:49)
-
Kerry Butler’s Meredith Parker:
- Highlighted as “the real sensational performance” of the show.
- Praised for transitioning from original Shelley to mother Meredith, offering “beautifully and absurdly played” warmth, humor, and pathos.
- “She’s so funny. She’s always been hysterically funny. Kerry Butler gets musical comedy so, so well. She sounds absolutely fantastic. Still belting right up there at the top of her range with that beautiful, bright quality that she has always had that so few people are able to imitate.” (24:47)
-
Gabby Karuba’s Shelley:
- Shows strong growth, especially in her evolving relationship with Bat Boy/Edgar.
-
Alex Newell’s cameo as Pan:
- Steals the show with a phenomenal one-song appearance, complete with a “downward fast riff that was just like, whoa,” and a “satisfying diva entrance.” (27:07)
Plot Revelations and Humor
- Explains the story’s “maniacal” twists: The romantic feelings between Shelley and Bat Boy are complicated by an outlandish revelation—Edgar and Shelley are biological twins, the result of animal pheromone experimentation gone wrong and Meredith’s “non-consensual amorous encounter with a swarm of bats.” (28:59)
- Praises Gabby Karuba’s comedic reaction (“brilliantly played, so priceless”) to this ludicrous revelation, and the shadow-puppet TED Talk explanation delivered by Butler and Sieber as one of the production’s comic highpoints.
- Other standout comedic/supporting performances:
- Christopher Sieber as Dr. Parker, “beautifully unhinged.”
- Marissa Jaret Winokur, Tom McGowan, and Andrew Durand in supporting and cameo roles.
- Enjoys the inclusion of comic moments about semi-staged format—actors frantically searching for lines in scripts, a “great gag.”
Final Thoughts & Ranking
Timestamp: 31:00 – 32:17
- Declares this production “quite genuinely the greatest thing I have ever seen at New York City Center… I’m ranking it above Ragtime…” (31:09)
- Urges for a Broadway transfer, underscoring how the world—and especially London—needs more Bat Boy.
- Invites listeners and viewers to share their own reactions in the YouTube comments and to subscribe for more reviews, vlogs, and NYC theatre trip coverage.
Quote:
“If you don’t know Bat Boy, go and check out the material. Go and get into it. Hopefully there may be a production near you somewhere in the world that you may get to see. Hopefully we may all get to see this production on Broadway, but also just more Bat Boy in the world. Please.” (31:43)
Timestamps of Important Segments
| Timestamp | Segment | Description | | --------- | ------------------------------------------- | ------------------------------------------- | | 01:39 | Introduction & Context | Why Mickey-Jo is reviewing Bat Boy | | 03:32 | What is Bat Boy? | Origins and plot basics | | 07:00 | Tone & Style | The show’s unique comedic approach | | 09:30 | The Music | Score, standout numbers, “Three Bedroom House”| | 15:25 | Direction & Design | Creative team and staging highlights | | 20:36 | Spoiler-Zone Begins | In-depth performances & plot twists | | 27:07 | Alex Newell Appearance | Pan’s showstopping cameo | | 28:59 | The Big Plot Revelation | The twin/sibling twist exposed | | 31:09 | Final Thoughts | Ranking, plea for Broadway transfer |
Tone and Style
The review is effusive, witty, and conversational, reflecting Mickey-Jo’s signature “stagey,” enthusiastic presence. He speaks directly to fellow theatre-lovers, combining both analytical critique and tongue-in-cheek commentary. His passion for the show’s weirdness and artistry makes the review both informative and highly entertaining.
Summary for New Listeners
If you’ve never seen Bat Boy, Mickey-Jo’s review makes a compelling case for why this bizarre, heartfelt black comedy is ripe for rediscovery—and why the latest City Center staging is an all-time high for the show. With meticulous insight into everything from musical numbers and design elements to comic timing and unexpected plot developments (spoiler flagging included!), this episode is essential listening for musical theatre fans and curious newcomers alike.