JADAR

★★★☆☆

Bat Out of Hell is one of many musicals that launched at Manchester Opera House, which is probably the UK’s answer to La Jolla Playhouse. It returned there a few years ago to kick off its first UK tour. As with many musicals post-pandemic, the production has now been downsized, with the latest UK tour inspired by the concert arena tour of Australia and New Zealand. The tour held its gala night at the Opera House’s sister venue, the Palace Theatre.

Bat Out of Hell is based on the Meat Loaf album of the same name, with some songs taken from its sequels albums. The musical also features a few other Jim Steinman songs. Unsurprisingly for jukebox musicals, the strength of the show lies in its score. Steinman actually first envisioned Bat Out of Hell as a musical, which is unsurprising, given the theatrical nature of the songs.

The musical (and the album before it) is inspired by Peter Pan, with elements of Romeo and Juliet, with the action relocated to a dystopian Manhattan (renamed Obsidian). The territory is ruled over by dictator Falco, once again played by Rob Fowler, who originated the role and has starred in several productions, including the first UK tour, which I also reviewed. He has electric chemistry with Sharon Sexton, who once again plays his broken, drunken wife, Sloane. It is unsurprising, then, that they are actually a real-life couple!

Falco, based on Captain Hook, is an archetypical, cartoonish villain, but he also has heart, and he genuinely loves his wife and daughter. Sloane could have been written as a typical ice queen, or an abused wife, but the creatives have given her both agency and vulnerability. Their rebellious daughter, Raven, is played by the vivaciously voiced Katie Tonkinson. She is neither a pampered princess nor a rebel without a cause but, rather, a young woman driven to free herself from overprotection.

The musical does not take a formulaic approach to the fairy tale. Instead, Raven and Strat, the protagonist, are in love before we meet them – and Raven does not need, nor wish, to be saved.

Strat is played by Glenn Adamson, who has come to own the role, having played it since its first UK tour. His energy is electric, his sex appeal is undeniable, and his vocals will have Meat Loaf cheering in his grave.

Georgia Bradshaw gives both heart and vocals as Zahara, who lives a double life as both a member of “The Lost” and Falco’s staff. Ryan Carter provides some sexy, soulful singing as her love interest, Jagwire.

The core cast is rounded off with Dance Captain Carla Bertran as Tink (yes, Tinkerbell!), Luke Street as Ledoux (and Alternate Strat – this role is demanding!), and Carly Burns as Valkyrie. The latter two are very much background characters, but Luke and Carly make the most of their limited stage time. Tink has a high temperament, which seems to be reinforcing her young age, but she’s always at a ten and needs to be brought down a bit so that we can better appreciate the complexities of her chatacter.

Whilst there are some likeable, interesting characters, the story itself is a bit whack, though I prefer it to fellow dystopian rock musical We Will Rock You, which is all over the place and makes Bat Out of Hell look structured.

The weak book was not as noticeable when the production was more elaborate. The original production was very splashy. Literally – it even had a pool onstage! The first tour was, of course, scaled-down, but it was decent for a touring production. This new production, however, is cheap. The set is simple and static, with the odd piece brought on, but it does feel quite like a concert version. The producers have said that they wanted the show to feel like a roaring rock concert, like one of Meat Loaf’s shows, but we all know it’s to save costs. Every time this musical hits the road, it gets cheaper. Next time they’ll probably take away the car and motorbike too!

Whenever the actors speak or sing, they use microphones, increasing the gig-like nature of the show, but the mics are a gimick that become annoying and create a disconnect.

Bat Out of Hell was one of the first stage productions to effectively use cameras onstage. The cameras (with the footage broadcast on huge screens) offer an insight into Falco’s home; an attempt to create a feeling of voyeurism as we see what happens behind closed doors. I appreciate that this might have felt bold and inventive at the time, but with cameras and screens having been utilised a lot since then, the excitement has now worn off – so they, too, feel like a gimmick. Also, it’s a tad annoying having to watch Raven on a screen because the camera man is blocking her onstage.

The costumes are a glam rock fantasy; there’s some fierce, punchy choreography; and the lighting is effective in creating both a rock concert and a camp dystopia. The book is paper-thin, but very timely given the current state of the States. The characters are fun, and they are brought to life by some terrific actors with gorgeous voices.

It’s certainly a fun show, but without the spectacular songs, it would completely fall apart.

Bat Out of Hell runs at Palace Theatre Manchester until March 8 and tours the UK until September 20.

Photo: Christmas Davis Studio