Reviving the 90s cult classic Bat Boy: The Musical was probably not the most obvious decision when it came to New York City Center’s Annual Gala Presentation. Judging by the only other show I have seen at the venue—Urinetown: The Musical earlier this year—they have a penchant for putting on unique shows that have Broadway talent clamoring for a chance to embrace quirky out-of-the-box kinds of roles. Enter: Tony-nominee Taylor Trensch, who fully immerses himself in the bizarre mannerisms of a hybridized being who could be either human or creature, but not possibly both. What Trensch and the ensemble cast bring to the table is nothing short of incredible, embracing a campy, horror-tinged premise akin to Little Shop of Horrors. Whilst the music might not be on the same level as that iconic cultural juggernaut, Bat Boy still manages to impress off the strength of its hilarious situational humor and sharp writing. A cacophony of macabre humor and vampiric tendencies make Bat Boy: The Musical utterly irresistible.
With the original musical having been inspired by an eerie 90s tabloid, those influences are present from the moment audiences set foot in New York City Center. Giant news displays proudly shout in all caps, “BAT CHILD FOUND IN CAVE.” A photo backdrop even allows commemoration of one’s night in Hope Falls. The stage is bathed in the bluish light of a cave, with grandiose scaffolding lying in wait. A strike of lightning, represented by a bold flash of white light, opens with a bang. The opening sequence is actually pretty effective in setting the stage for many ideas meant to be later explored. A group of teens come upon the strange “bat boy,” a feral thing with sharp teeth, a bald head, and pointy ears. Naturally, one of the group gets bitten as they try to capture it.
To no one’s surprise, the sheriff doesn’t want to deal with this apparent abomination. Searching for answers—or maybe just trying to shoulder the responsibility for the problem onto someone else—Sheriff Reynolds (Tom McGowan) brings this so-called bat-boy onto the doorstep of local veterinarian, Doctor Parker (Christopher Sieber), and his three-unit family. Daughter Shelly (Gabi Carrubba) does not think too highly of him at first; matriarch Meredith (Kerry Butler), however, pretty instantly becomes enamored. Pleading with her horny husband, Meredith promises to please him in bed if he’ll give the boy a chance rather than instantly proclaim “bat boy” to be a societal menace.
For his part, Trensch portrays the twitchy animalism remarkably well, speaking in unintelligible shrieks and humming along as Meredith attempts to comfort him. He harmonizes with her and, most pleasingly, Meredith gives him language lessons and dubs him with the proper name, Edgar. Shelly grows to accept Edgar’s presence as he improves his diction through BBC television. Meanwhile, Dr. Parker feeds Edgar blood to satiate his lust. As a reverend-hosted harvest revival approaches, the mayor and Sheriff Reynolds are both concerned that Edgar’s presence could present major issues. They force Dr. Parker to promise the boy will not attend. But what happens if he does? It’s all so silly narratively speaking, but there are some major surprises, especially in act II, that provide shocking texture to the whole ordeal.
There’s a refreshingly homemade feel to the staging, even bringing out cue cards that tell us about the passing of weeks. A hearty mix of ballads, quirky comedically-driven tunes, and, of course, stunning group choreography keep it feeling fresh. The chemistry between Edgar and Shelly sings thanks to exceptional performances from Trensch and Carrubba. This fiery duo actually make you root for a bat-being and his unexpected teenage crush to get together. Butler also brings serious pipes to the frigid matronly Meredith, and got the most uproarious applause of the night for her “Three Bedroom House“. Tony-winner and Glee alum Alex Newell steals the show in iconic number “Children Children” that hits some vocal and comedic highs throughout. Also quite notable: Andrew Durand as the bully Rick, who leans into the inherent douchiness of his character.
Though a shaky spot in the first act nakedly displays Bat Boy finding its footing, act II manages altogether seamlessness. Not often does a Broadway experience soar to greater heights later on, but Bat Boy is a stellar exception to the rule. There’s certainly a kitchen sink mentality to some of it—what other show gives you a lubed-up cow fisting, a throat-slit bunny, and a family of hicks that fake the severity of their injuries for sympathy? By the time we experience the backstory of the titular character’s inception, Bat Boy: The Musical tore its way into my heart. For those with a sense of humor as wickedly sarcastic as my own, I cannot recommend this quirky oddity enough. Give Bat Boy a chance—let him file your taxes, he’s a CPA!
Bat Boy: The Musical plays its final performance today at New York City Center. Break a leg, cast and stage crew!
