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Hear that? It's holiday cheer Arriving at Ulta Beauty with gifts for everyone on your list. Treat them to fan favorite gift sets from Charlotte, Tilbury and Peach and Lily. Go all out with timeless fragrances from ysl, Ariana Grande and Carolina Herrera. And you can never go wrong with an Ulta Beauty gift card. Head to Ulta Beauty for gifts that make the holidays brighter and even more beautiful. Ulta Beauty gifting happens here. Now I realize when addressing an audience of well educated musical theatre fans such as yourselves. I am most likely extraordinarily late to this particular party, but it has recently come to my attention. Hold me Bat Boy. Save me Bat Boy. Transfer Bat Boy because I am thirsty for its Broadway blood. I just saw this show for the very first time at New York's City Center Encores and I am obsessed. 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 where I am visiting as a professional theatre critic in order to cover as many new openings and arrivals as possible over the next couple of weeks. Now the reason we have come in November is to coincide with the official Broadway opening night of the originally British new musical Two Strangers Carrier Cake across New York that is happening right at the end of our trip. The reason for the beginning of our trip being when it is was to see Bat Boy at New York City Centre. This show representing the venue's annual gala presentation as well as I believe the first of a new season from new Artistic director Jenny Gersten. And what an incredibly strong and exciting start it is. If you don't know, City Centre is not a Broadway house, but they do produce a handful of musicals staged pretty much in concert, semi staged throughout the year. Some of these are encores presentations resurrecting shows from the past, not unlike Batboy, which became a cult hit musical when it first premiered in the very early 2000s. Several of these productions have gone on to transfer to Broadway, even becoming long running multi Tony award winning hits such as the long running production of Chicago subsequently seen around the world that originated as a semi staged sleek encores presentation of the show back in the 90s. More recently the likes of Once Upon a Mattress and Parade starring Ben Platt and Michaela Diamond. Also the starry into the woods rev. Whole bunch of shows have come out of City center and my hope is that Batboy gets the same Broadway transfer treatment because as I'm going to tell you in this full review, this production was sensational. It packed something of a bite as well as being side splittingly funny, perhaps I should say blood drawingly funny and you know, just utterly maniacal as well. 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 to this narrative in the next scene. I truly knew nothing beforehand about the direction this plot was going to take, nor any of the music. So much of it is now in my head. I'm going to tell you more about Batboy if you, like me, were not familiar with this show and I'm going to tell you why this version of it was so sensational. Of course, as well as sharing my theatrical thoughts with you today, as always, I would love to hear yours. Let me know what you thought of Batboy if you saw it at City center in the comments section down below or if you've seen a previous version of the show, even the original productions of the show. Please let me know about those as well. I am now desperate to find out more about this musical and if you enjoy listening to what I have to say and would like to hear more of my theater reviews, make sure to subscribe to my theatre themed YouTube channel or follow me on podcast platforms. Turn on notifications here as well so you don't miss any of my upcoming New York coverage. Plenty of Broadway and Off Broadway shows as well as vlog style content coming over the next few weeks. In the meantime though, there remains nothing for us to do but to talk about Bat Boy. So how to begin to explain explain what Batboy is? Well, its basis is it's pretty singular and quite interesting because 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. Three local kids, sort of up to no good exploring a cave several miles to the south of the fictional town of Hope Falls, West Virginia, I believe, where the musical is set, discover an adolescent half boy, half bat creature in this cave who is then brought back to the town and entrusted to the local veterinarian and his family. Here's Dr. Parker, played in this production by Christopher Zieber. His wife is Meredith, played by Kerry Butler. Their daughter is Shelley. This is an interesting piece of casting because Kerry Butler played the role of Sherry in the original Off Broadway production and is now playing the generation above her mother, Meredith. Gabby Karuba, meanwhile, is this production Shelley and Taylor Trench is Bat Boy in a fabulous piece of casting, but we'll talk about the performances a little later. Now the family has a peculiar, if not unfamiliar, waspy kind of a dynamic. We come to find out that there is a lack of warmth and passion in the relationship between Meredith and Dr. Parker. She is also chastising her daughter for talking like a slut in her own words, when she is expressing enthusiasm about her boyfriend Rick or the guy who she hopes is going to be her boyfriend. Rick being one of the three siblings, siblings who together discovered Bat Boy, one of whom was bitten by him. And given the way that Meredith is characterized, very conservative, a little bit uptight. It's perhaps something of a surprise to us when she welcomes this Bat Boy creature into their home, admittedly to be kept in one of Dr. Parker's cages until he returns and can determine whether or not this is an animal or a human being and what rights it has. But by the end of the show, all will be revealed, and since I think people who haven't seen it beforehand deserve the experience, are getting to watch this plot unfold before their eyes with no sense of what's going to happen next and a complete sort of incredulity and bafflement. I am going to try and structure this review with a spoiler free section which you are currently listening to, and a spoiler inclusive section which I will flag ahead of time a little later on. What you need to know, without divulging too much information, is that as the plot continues, Batboy, who is dubbed Edgar by his new surrogate family, is taught to be a well behaved young gentleman, though that doesn't necessarily guarantee that he will be accepted in the local society. There's definitely shades of an Edward Scissorhands esque kind of a narrative at play here, and it's exactly that kind of show and that kind of tone exploring the behavior of society and the way they respond to this example of a newcomer, someone who is different, someone who is maybe perceived as a villain with fear mongering at play and some opportunism and all of these hypersaturated, over the top, almost John Water esque local personalities. It all pairs really, really well with a score written by Lawrence o', Keefe, whose work you are likely to know from the likes of Legally Blonde and Heathers, and he is particularly great at living in this very subversive, darkly comic, twisted place. The story and book are co written by Keith Farley and Brian Fleming and I have come to understand, having not known the show prior to this production, that there have been a great many updates and changes, a bunch of new songs actually written for this version of the show, as well as a decent amount of tweaks to lyrics here and there. This was also a very expanded production based on how the show would traditionally be cast. There would ordinarily be a lot more multi rolling, but this being, you know, the grand expansive stage of New York City center and a limited annual gala presentation for a couple of weeks, they had the scope to do something much more lavish and probably one of the biggest productions that Batboy is ever going to get. And even though this is like 25 years on and I think the new material I believe had been added for a prior production over the last few like maybe in conjunction with like a school production, sort of workshopped through that I guess before this big professional revelation. But there was no sense of stitches whatsoever in the material between the old and the new. It all felt incredibly Cohesive. And what a fantastic score it is. I mean, it hits you straight away with this brilliant theme, this Hold Me Bad boy that keeps coming back. It's sort of haunting and it captures in that and in this first number alone the intrigue and the mystery and the inherent weird romance of the story as well. That's such a big component of this, this quality of like indeterminate, intimate human connection between these characters that they aren't quite able to understand for themselves, but does the brilliant thing of taking this, this achingly romantic and dramatic melody and combining it with a tongue in cheek, twisted, odd and unusual lyric as they're singing all of these different echoes from Hold Me Bat Boy to like Save me Bat Boy. And then there's a moment where it goes into double time. I was convinced by the end of the opening number that this was going to actually be far more exciting than I had realized. It also does a great job of telling us so much about where this story is going to go by the beginning, because we get this sense of sort of a mob mentality already at in the way that it was staged in this production by Alex Timbers, director, contrasted by the lone figure of Shelley, who initially is the one singing that refrain. And there are a great many more killer songs as we go through the show, but in particular when we get to the second act, and this isn't too hefty a spoiler, we arrive at a song called Three Bedroom House, where for a handful of reasons, Meredith and Shelley are planning what the next step for them is going to look like. And they sing this excellent duet, which I realized as the lyric Three Bedroom House was emerging in the song, is one that I'd absolutely heard of before. Occasionally there are scores that have been around for a really long time that you've never had the chance to listen to, but you are aware of, like the name of a song that everyone loves from that show. Something like a Michael in the Bathroom from Be More Chill kind of a situation. And when they started singing this, I was like, oh, this is the one that I'm kind of vaguely aware of but had never heard before in my life. And what I love about 3 bedroom house, aside from the fact that I'm absolutely hooked on the melody and the way that it's. It builds and it's this compelling mother daughter duet, what I love is that it's 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. There's no huge requirement for there to be a song at this particular point in the story. And I feel so many musicals are being written now, particularly those being adapted from existing source material like films, where the craft now is becoming too personal. Put songs in the obvious dramatic moments and it's, you know, that's per all of the rules of musical theater. The whole, like, we sing when we can no longer speak, so when we rise to a certain emotional height, then a song would appear there. And the thing about Bat Boy is we are so often at that emotional height because the whole thing is so loaded and the stakes are quite often really very high and it gets so melodramatic and absolutely wild. But when Three Bedroom House happens, we've just come out of a really explosive scene and all the song needs to do is eventually engineer a heart to heart conversation between Shelley and Meredith, which is being for the most part delayed because the song is happening. It only comes in dialogue right towards the very end. And 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 to look at some of those older scores and go, that's an iconic fixture of that score or that character singing that in that moment. It doesn't necessarily make sense, but it works. Anyway, my point is go listen to Three Bedroom House. It's an absolutely fantastic musical theater song. And unusually, because so many shows are the other way around, I would say that the second act of Batboy might even be stronger than the first. There's a lot of, like, figuring out what exactly it is that we are looking at. And this production and this direction by Alex Timbers, both because of the way the opening number is staged and then because of how strongly we get Meredith and Dr. Parker and Shelley's personalities in their first scene does a great job of bringing us right into where we need to be. But that second act, that's just riffing on everything and then eventually giving us this big plot twist of revelation and this culmination of a lot of things that have been foreshadowed and implied and equal parts shock value and satisfaction and just bizarre, unexpected backstory. That's when the show has really arrived at top speed and can enjoy its great here's how to stay alive longer so you can enjoy Boost Mobile's unlimited plan with a price that never goes up. Do not mistake a wasp nest for a pinata Stay alive and switch now at boost mobile. After 30 gigs, customers may experience slower speeds. Customers will pay $25 a month as long as they remain active on the Boost Mobile unlimited plan.
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Knock knock.
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Okay. It's just that when people say knock knock, there's usually a joke to go with it.
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Like I said, this isn't a joke.
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So the knock knock was just you knocking?
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Yeah, that's how doors work.
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Get the new iPhone 17 Pro delivered and set up by an expert wherever you are. Delivery available for select devices purchased@boostmobile.com terms apply to successes. Now I want to talk about some of the brilliant, brilliant creatives who have helped to bring this particular semi stage production to New York City center. Alongside director Alex Timbers, who I think has done really fantastic work on this show. I enjoyed the multi level set design from David Coryns as well. 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 fangs of an open vampiric mouth. The vibes of the community and the material felt very traditional, conservative, suburban. But in a lot of the design, in the scenic design and the costume design as well, it was also feeling like a hybrid between that and sort of frontier town. A huge component of this story is the fact that the town's identity is sort of shifting as well. They have a big revival weekend coming up and they are trying to transition from a cave mining town to a cattle farming town. The problem with which you may already be able to perceive Jennifer Mola was responsible for that costume design. Justin Townsend's lighting design was also fantastic. Brilliant moments of lighting in this show. Nevin Steinberg's sound design sounded absolutely great. We have to talk about some other visual elements as well because Suki Tsujimoto was the makeup designer, Rob Pickens was the hair and wig designer, and the prosthetic work that they had done with Taylor Trench, a lot of like bald cap and ears going on. It was so, so good. I was staring at it throughout the show. I was transfixed by how believable all of that was and how absolutely convincing. Ray Wetmore and J.R. goodman meanwhile, are credited as puppet and props designers. And there were a couple of animal moments in the show, none more charming to me than Gertie the Cow. Conor Gallagher's choreography I thoroughly enjoyed, particularly in a few moments of more expansive dance in the second act. Everything music wise sounded fantastic, was absolutely great. Music director Andrew Resnick did a fantastic job. I loved the orchestrations and the arrangements. Both the work of Lawrence o' Keefe and Ben Green. I dare say this is probably one of the largest bands that has ever played Bat Boy. One of the really fantastic things about the work that they are doing at New York City center is they are taking what was in many cases, a lot of smaller shows, shows and amplifying them. And it's always really interesting to see what still inherently doesn't really work on that stage. There's a lot of, like, innately flawed material that it's great to have the chance to see or hear or have, like, new performers get to play those roles. Things like Jerry Herman's Dear World, that there is a lot of beauty in still, or Once Upon a Mattress with a reworked book. But then you get a show like Bat Boy and you sit and you watch it and you think, why hasn't this been been produced more? It's so weird. But I think it's weird in a way that audiences now are super ready for. I have spoken a bit about campy, spooky musicals, and I said Addams Family, even just over a decade ago on Broadway, ahead of its time, audiences not quite ready for it tonally. As Beetlejuice was then getting like, super popular online virality, I think audiences were increasingly more ready for that kind of a show. Setting up Death becomes her to be this pretty much instant hit that everyone is loving for its comedy, for its inherently spooky, campy identity. 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. I think with a lot of the starkid musicals that have come over the last decade, I think this kind of irreverent black comedy, this. This weird factor is actually something that could really.
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You find an audience right now. Now for those of you who don't know the show as we head into the next section of this review, it's very possible there are going to be some spoilers if you listen with caution. I will still do my best to flag these in each instance where they're going to happen, but I would like to take this opportunity to tell you about the performances. Taylor Trench is wonderful as Edgar Batboy and 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 and scaling this set and mounting things and peeking through and sort of shrieking in this bat like fashion. But he quite quickly gets the Eliza Doolittle treatment and is able to not only speak but do so in a very loquacious and well spoken way. He even gains a British accent. There is one little line in the script to justify this when they talk about him listening to BBC recordings and he says like indubitably and indisputably with what I will say was like a 99% perfect received pronunciation British accent. He did a really great job up. But 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. He has a sort of if you prick me, do I not bleed style monologue and song in the second act when he is trying to appeal to the people of the town before everything worsens just a little bit and for a lovely shimmering moment, it's like the sun breaks through the clouds of silliness and oddity and it's just sort of simply heartwarming. But the real sensational performance of the show comes from Kerry Butler, who, like I said, was a part of the original company playing Shelley years and years ago and is now playing Meredith. This is such a casting coup, not just because of the novelty of her now, like, singing the other part in the song Three Bedroom House and playing a lot of scenes on stage with her former character, but also because she's so great. And can we talk for a second about the seamless transition that Kerry Butler has made while almost always working for the last quarter of a century from playing the these youthful ingenue and quirky characters into playing all of these iconic mother roles? Like, there's a lot of fantastic performers who had an early career and then went away for a little bit and then are making exciting comebacks even right now on Broadway. It's a fantastic time for actresses from early 2000s Musical theatre coming back to the stage, and it's very exciting to see that. But Kerry Butler has been giving iconic performances in Broadway productions almost the entire time. Like, iconic for originating a role in Hairspray and was also in the likes of, like, Catch Me if youf can and Disaster. And, like I said, Batboy. Like, was in all of those shows in the early 2000s, was workshopping the Little Mermaid and Legally Blonde. But then has also been original cast Mean Girls and Beetlejuice. And when she's not doing Bat Boy, she's been in Heather's Off Broadway. And she's really giving great performances in these unhinged mother characters, which is very much what Meredith is. We come to find out why. And the duality of this sort of slightly frosty, conservative image and her dismissive attitude towards her daughter, with the immediate warmth towards Edgar and the inclination to try and raise him and comfort him and help him and educate him him, is beautifully and absurdly played. 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. And it captures, I think, both because of the way that she sounds and because she was Shelley, this sense of Meredith having become jaded and, you know, having become regrets in her life, but also this youthful version of her that still lingers there that you can still see and still hear. And of course, we have this production, Shelley, Gabby Karuba, who has a lovely arc from the beginning, especially in the way that she relates to Edgar, because at the beginning they have this dynamic where he's A little like an annoying sibling as far as she's concerned, but she's eventually a little bit more endeared to him. She even defends him in front of her boyfriend, Rob Rick, prompting something of a metamorphosis in her relationship with Edgar that turns towards the romantic. And these two young lovers consummate this unexpected and slightly unusual relationship after things start to look pretty bad for Edgar as far as the town and the community is concerned. This happens right after Three Bedroom House, which is the moment when she admits to her mother that she loves him, which her mother does not not take. Well, this is where the spoiler territory is beginning to emerge, because all of this is building towards the great revelation of clarity. Oh, such clarity. And like I said, Three Bedroom House is an inspired musical moment that doesn't need to exist. The way that the romantic coming together of Edgar and Shelley is musicalized is with a song performed perhaps always, but certainly in this production by the manifestation of the God God Pan and all of these different animals running around the stage like it's Colors of the wind from Pocahontas Pan, played in this production, by the way, by Alex Newell, who arrived simply to sing one song sensationally in an avant garde outfit and is a big part of the reason why I need a new recording of this score. There was one very Alex Newell style downward fast riff that was just like, whoa. Also a proper satisfying diva entrance where Alex to start singing before walking on stage, like when Julie Andrews finished the My Fair lady segment in the Cameron Macintosh Hey Mr. Producer Concert Back in the day. Now I have to share something of a spoiler here to tell you about a little bit more creative artistry and my favorite moment that Gabby plays as Shelley in the show, after which I will not address this spoiler again, but we find out where exactly Edgar came from. Earlier in the show he has pointed out that he has a naval and so he must have a mother. He must have begun born as such. And when Shelley tells her mother that she wants to marry Edgar and that she's in love with him, she is sort of appalled by how horrified her mother is. And her mother saying that it's completely unnatural. And it's surprising to us as the audience as well, because Meredith has been such a proponent of Edgar getting to live a normal life. Why is she objecting to such an extent to him being with her daughter? And it turns out it is because here is the substantial spoiler that I did not see coming. Meredith is not only Edgar's surrogate mother, she is his real mother as well, born alongside his technical twin sister Shelley as a result of an accident with animal pheromone at the veterinary lab some years beforehand, after which Meredith had. And you may want to sit down for this one, a non consensual amorous encounter with a swarm of bats, meaning that Edgar and Shelley are siblings. And the way that Gabby immediately like physically shuts down and her eyes widen in her boulders come up as she's hearing this news in the wake of the two of them having just consummated their blossoming relationship is so brilliantly played, it's so priceless. Everything that Carrie plays throughout the sequence is great as well. And we get between Carrie and Christopher Sieber a shadow puppetry flashback demonstration, TED Talk presentation kind of a thing about how this had possibly happened in the first place to to explain to Edgar and everyone else and the audience by extension, what on earth led to a half bat, half boy being born and then being left in a cave. Carrying on. There are some more fantastic supporting performances we need to talk about. Christopher Zieber beautifully unhinged in this show. Pretty close to the performance that he's giving on Broadway at the moment as Dr. Ernest Menville in Death becomes her. He's even still carrying around a medical bag. But the twist that his character takes in his romantic frustration in this show is a really, really tasty one for him to get to play. And it's one of those casts, and this is often the case with City center shows. Another great reason to go and see them where it's an embarrassment of riches. The people who have been involved in this. But some other comic standouts as well. Marissa Jarrett Wynoka as the mother of the three children who found the Bat Boy who was trying to gain some financial leverage because of all of this. Tom McGowan as the sheriff who is up for re election. I'm a big fan of Tom McGowan. I think he is hilarious. He's very funny with the lines that he has in this show. Andrew Durand gives us some really great moments as Rick. Always a treat to watch him on stage. And Jacob Ming Tran gives us a great opening to the second act as Reverend Hightower, a fixture of a lot of on course presentations and annual gala shows at City center is that I think it's a stipulation that they have to for a couple of moments in the show at least be holding scripts. And that's staged into the show at the top of the second act when as the reverend at this revival, he is singing this hymn and there's a moment when they're about to all sort of join in, but no one is ready to. And so they're all like frantically looking through the scripts and trying to find the page. Hilarious comic moment. Great gag, that one. And honestly, this is a show that is full of them. And this direction so beautifully understands the tone of the thing. The writing so cohesive, the performances so get it. It's so satisfying to be able to watch a show that, you know, wouldn't necessarily land on its feet every single time that it is produced. That is admittedly wacky. That is pretty niche. It's great to see it get such a fulfilling production. The writers must be so satisfied with this and for it to, you know, have this, this 25 plus years after it was originally conceived. I cannot think of a better way to see Batboy. And so I really hope that this particular production and as many of these company members as possible get to have a future life. I hope that this gets to transfer to Broadway. It is quite genuinely the greatest thing I have ever seen at New York City Center. I'm ranking it above Ragtime, which has also transferred out of their line last season to the Vivian Beaumont Theater where it is currently running. If that production can transfer and I love Ragtime and that was also superbly cast, then Bat Boy also deserves to transfer. 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. I would love to see a production of this in London. I think we need this musical back for now though. Those have been my thoughts on this particular production. If you had the chance to see it at New York City Centre. As always, I would love to hear what you thought of it in the comments section down below. And if you want to hear my reviews of everything else I'm going to be seeing on this two week trip to New York where I'm seeing about 20 shows, make sure to subscribe right here on YouTube, turn on notifications or go follow me on podcast platforms. In the meantime, I hope that everyone is staying safe and that you have a stagey day. For 10 more seconds, I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.
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Okay, it's just that when people say.
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Knock knock, there's usually a joke to go with it.
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C
Like I said, this isn't a joke.
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D
So the knock knock was just you knocking?
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C
Yeah, that's how doors work.
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Get the new iPhone 17 Pro delivered and set up by an expert wherever you are. Delivery available for select devices purchased@boostmobile.com terms apply.
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