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Off Broadway

He Says: Bat Out of Hell Roars, Revs, and Sputters on Stage at NYCC

He Says: Bat Out of Hell Roars, Revs, and Sputters on Stage at NYCC

Would you offer your throat to the wolf with the red roses?”  Good question. Would I?

That’s a harder question to answer than I thought as this new musical flies over from sell out crowds in London’s West End and Toronto, revving up its motor on the New York City Center stage on these hot August nights. The national tour of this show has been cancelled, but my theatre companion was still super excited, as was I, as this is the music of my youth with songs that I loved for decades, particularly for its passion and theatricality. It now feels a bit adolescent, but the grandness of Meatloaf’s brand of Rock and Roll still captivates and gets my blood pumping. But the answer to that first question lies somewhere in the in-between of heaven and hell, with objects and characters that the creators hope appear more believable and entertaining in the rearview mirror, but sadly feel smaller and somewhat more silly. This is by no means your standard City Center audience or show, but this Bat Out of Hell is no typical Broadway styled musical either. It’s machinery is decidedly different, and with a non-sensical book stuffed clumsily between a whole lot of epic and perfectly performed music and lyrics by Jim Steinman, the man known for helping usher the phenomenally talented Meatloaf to stardom with this playlist, this rocking new musical roars its engines wildly, fueled solely by a superb vocal force that could fill a rock and roll arena stage. Those voices are exactly what this show needs, but the mess that surrounds it stalls the ride too often, making the motorcycle skid and slide, even with all that musical talent trying with all their heart and soul to keep the Bat journey on track.

Christina Bennington & Andrew Polec of “Bat Out of Hell”
(Photo: Specular)

Will he offer me his mouth?

The premise is a dystopian forever-teenager rebellion, naturally between the towering ‘haves’ and the underground ‘have nots’ filled to overflowing with a slight “Rebel without a Cause” ridiculous. It’s all hard metal and neon, but luckily, this Bat Out of Hell is driven by the charismatic bad boy Strat, played by the supremely gifted singer, Andrew Polec (off-Broadway’s The Fantasticks), reprising the role he won accolades for in London and Toronto. Subtlety is not a word in Polec’s vocabulary, and he’s a bit of a silly rebellious poser, but boy, can the man sing. Without him channelling the epic style of Meatloaf, this two-wheeled vehicle would not have the fuel to even ignite, let alone drive forward a foot. Coupled with the rich girl in search of her bad boy, Raven, portrayed by the phenomenally voiced Christina Bennington (West End’s Show Boat), who created and originated the role in the West End, the fire cracks strong, but only during the vocal arrangements. Courtesy of music director Ryan Cantwell; orchestrator Steve Sidwell; music coordinator Howard Joines (Broadway’s Beetlejuice); and musical supervisor with additional arrangements by Michael Reed (West End’s Sunset Boulevard with Glenn Close), the music soars, especially when these two are let loose on those “nights that were so cold“. But when the two try to act their way around the clumsy staging and structure of the piece, the posturing and the blocking trip them up in a cringe-worthy manner. They, and the whole cast flood the engine with a falseness that comes close to deadly, shutting down the engine until the next magnificently sung classic song comes forward out of the fog and pulls this talented crew back into the spot light.

Danielle Steers (center) and the cast of Bat Out of Hell.
(© Specular)

Will he offer me his teeth?

One of the strongest moments comes strutting in when Zahara, played to perfection by Danielle Steers (Donmar’s Sweet Charity) informs the smitten Jagwire, strongly portrayed by Tyrick Wiltez Jones (Broadway’s Hairspray) that “Two Out of Three Ain’t Bad“. Her voice and presence resonates like no other on that stage, bringing a bit of Cher strength and courageousness to this woman and her situation. Stephanie J. Block would be proud, as she makes us all sit up and take notice in a way that will keep us tuned in to Steer’s career for a long time to come.

Alongside her powerful presence is the magnificent Lena Hall (Broadway’s Hedwig) as Sloane, not really being given a formula to shine as strongly as she could and should, especially when placed beside her husband, Falco, played a bit too comically by the strong voiced Bradley Dean (Broadway’s Doctor Zhivago). Her Dashboard Light moment is dimmed, overpowered by the projected visuals provided by the talented Finn Ross (Broadway’s Mean Girls) and the messy direction. They distract from that incredibly powerful song that lives powerfully in my heart from days long ago, making our eyes unsure where to look. With all that unmotivated movement and the laughable staging by director Jay Scheib (Royal Opera House’s Mamzer/Bastard), I wanted to turn the engine off on that production number and just pleas with those two phenomenal singers to simply stand still and sing that fantastic song without all that unnecessary fanfare, just so I could find the essence and the emotional core at the heart of that iconic song. This was not the first, nor the last time I had that impulse.

image (2)
Bradley Dean and Lena Hall in “Bat Out of Hell.”  Photo Credit: LIttle Fang

Will he offer me his hunger?

There isn’t one person on that stage that shouldn’t be on that stage singing those songs. Each one has a powerhouse voice that is thankfully given its moment to shine with brilliant fire and extreme softness combined, including the oddly written role of Tink, well played by Avionce Hoyles (off-Broadway’s What Happens in Vegas). He becomes the Judas of the night, betraying his Strat out of petulance, and his act throws the rest of the crew out of the frying pan, and into the fire with a kiss. The melodrama flies forward like a futuristic soap opera mixed with a Road Warrior extravagance, forcing the vocally talented band of Wasted Youth misfits, made up of a crew of uber-talented singers and dancers: Paulina Jurzec (Camera), Will Branner (Ledoux), Lincoln Clauss (O’Dessawuite), Kayla Cyphers (Kwaidan), Jessica Jaunich (Valkyrie), Adam Kemmerer (Markevitch), Nick Martinex (Astroganger), Harper Miles (Scherzzo), Erin Mosher (Vilmos), Aramie Payton (Denym), Andrew Quintero (Hjollander), Tiernan Tunnicliffe (Goddseilla), and Kaleb Wells (Hoffman), to run and kick with wild abandonment to the horrendously 80’s choreography by Xena Gusthard. In the chaos of the over-the-top melodrama, I really just wanted them all to stop running about for no reason, and just sing those songs. They all have that internal power to hold us in their vocally-charged hands, and in that moment, I would have been fulfilled.

Andrew Polec & the cast of “Bat Out of Hell”
(Photo: Specular)

And will he starve without me?

The whole thing is too complicated and serious for its own good in the way it is delivered. The set and costumes Jon Bausor (West End’s True West) with original costuming by Meentje Nielsen, forces a lot of the inner second floor action to be video’d live and projected all around the stage, distracting our attention away from what is going on right in front of us, and with no great insight given, the action seems pointless. The lighting by Patrick Woodroffe and the sound design by Gareth Owen (West End’s Come From Away) works, but they can’t hide the flaws of the design and the directorial vision.

In the end, I can’t say I didn’t love the music and the performances, as they rev that rock n roll sound brilliantly up to the heavens giving this Bat out of Hell some solid vocal wings to fly on. But “For Crying out Loud“, have some faith in that phenomenal sound, and let those “Dead Ringers for Love” live loud and clear without being pushed and prodded to skid so inauthentically across the stage.  The acting and the direction, including the unmotivated movement and blocking, are a bust, but “I’d Do Anything for Love” to hear those voices bring magic to those songs and gun that engine forward until those “Rock and Roll Dreams Come Through“.

And does he love me?

Yes” and no.

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Off Broadway

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

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