By Michael Higgs/ The Upcoming
The plot follows Strat (Glenn Adamson), the eternally young leader of The Lost – a gang of street urchins roaming post-apocalyptic Manhattan.
He falls for Raven (Katie Tonkinson), daughter of Sloane (Sharon Sexton) and the tyrannical Falco (Rob Fowler), ultimately rescuing her from her father’s clutches.
But the story largely exists to serve the music: big emotional moments are handled with little to no dialogue; even an entire arc with a betrayal lasts no more than a couple of minutes and a handful of lines, leading to no relevant consequences. Falco, oddly, ends the show as a friend of The Lost. Virtually none of the themes or concepts are explored in any depth.
But that’s often the fate of jukebox musicals. Thankfully, the performance of the songs is outstanding – the saving grace of Bat Out of Hell. The singers are stupendous, pulling each hit off flawlessly and with grace. In particular, Sexton and Fowler deliver some magnificent duets, while Adamson and Tonkinson show excellent chemistry and powerful vocal range. The band, led by musical director Iestyn Griffiths at the keyboard, is similarly impressive.
Bat Out of Hell: The Musical ultimately proves a mixed blessing. Fans of Jim Steinman and Meat Loaf will revel in the music, aesthetics and choreography, easily forgiving the absence of a meaningful narrative. For less devoted viewers, however, the show may feel a little hollow – its soundscape offering only fleeting relief from the lack of dramatic substance.
