Bat Out of Hell - musical review

Bat is back, blazing into a venue near you. The fan favourite has been reimagined once again to take a fresh, experimental approach to the fiery forbidden lovers narrative, set to an iconic soundtrack of Meat Loaf and Jim Steinman. Grab your leather jackets and hop on your motorbikes: we're riding straight out of hell in all our glory.

Inspired by the never-ageing characters in Peter Pan, yet throwing the idea into a tunnel of darkness, Bat Out of Hell embodies the divisions between the rich and powerful, versus the reckless and othered. Falco (Rob Fowler, Joshua Dever for this review), Sloane (Sharon Sexton), and their 'little' girl, Raven (Katie Tonkinson, Sophie-Rose Emery for this review), live with frequent clashes amongst them in Falco Towers. Outside opposition comes in the form of 'The Lost': a group of wayward teenagers, including a prominent character, Strat (Glenn Adamson), who have lasting mutations from the chemical wars, meaning they don't age beyond 18. That is, besides Tink (Carla Bertran) - frozen in time a bit earlier than the others and therefore seen as the 'baby' of the gang. Frivolous yet fearful, their existence in this sense seems to relate to many who are going or have been through that deep identity and soul-seeking journey that begins just before adulthood. Once a treacherous love affair begins brewing, the tensions between the sides continue to rise.

Oozing force from the start, 'All Revved Up With No Place To Go' instantly ignites the streak of engagement that maintains throughout the fast-paced piece. Similarly, 'Out Of The Frying Pan And Into The Fire' continues this, before a pace change into Zahara (Georgia Bradshaw) and Jagwire (Ryan Carter)'s beautiful rendition of 'Two Out Of Three Ain't Bad'. 'Paradise By The Dashboard Light' sees the true and irresistible infatuation for one another between Sloane and Falco, with a hint of friction, in more sense than one. As the titular track, 'Bat Out Of Hell' is an explosive closure to act one.

'For Crying Out Loud' features in the second act, displaying the fruitful bond of young love. 'What Part Of My Body Hurts The Most' is phenomenally constructed before being thrown into the party ambience of 'Deadringer For Love'. As the ultimate power ballad, 'It's All Coming Back To Me Now' gives an opportunity for the cast to blend seamlessly with one another, yet still allowing every vocalist to shine. 'I’d Do Anything for Love (But I Won’t Do That)' will undoubtedly leave you wanting more, embracing your inner Meat Loaf on the way home.

In comparison with past runs, it does seem as if the production is a shadow of its former self. With several songs cut (a slow decline with a couple gone each time the piece is restaged), the depth of the first act now feels significantly reduced, given that this has taken the most hits here. This only exacerbates the struggling storytelling, which has been hugely impacted by the changes to the set. Handheld mics and minimal detail to the environment, such as Raven’s bedroom or the Falco Towers lounge, strip back the scene, encouraging more of a blended ‘concert’ kind of atmosphere (except, without the audience interaction – the amusing announcement at the start did seem to work on this occasion!). While this still allowed for a stellar showcase of talent, the emotional chemistry and development were lost a little. Since dialogue is kept to a minimum, the opportunity to form a relationship with the characters and understand their connection with one another means these appear significantly more superficial than seen previously.

Where Sloane and Falco once had a turbulent arc of lust and loathing, this invigorated passion is no longer built to the same degree with their lack of interaction. However, this may in part be due to Joshua Dever covering as the male half of the duo for the reviewed performance. Although a skilful performer in his own right, he will never replicate the genuine and evident attraction that Rob Fowler (also off-stage partner of Sharon Sexton) undoubtedly has, which may be able to hold a bit more of the old spirit fostered, even with the cuts to much of their humour, conflict, and resolution.

This all noted, it still holds the Bat Out of Hell spark at its core. The heart-thumping beats alongside impressive vocal artistry - particularly from Sharon Sexton, Georgia Bradshaw, Ryan Carter and Carly Burns (Valkyrie), with the latter pair being criminally underrated with their allocation of stage time. Electric choreography by Xena Gusthart enhances Jay Scheib's direction by bringing a buzz to the room any time the company move as one, with the addition of pyrotechnics for extra surprise heat to enhance the space. Jon Bausor's costumes give the perfect grungy underground vibe to match the sexy, enticing, rock n roll lifestyle of The Lost amid the dystopian time period.

If you are a fan of the music (and you can't really go wrong with the craftsmanship of Jim Steinman), it's still a must-see. While waiting in desperate hope that revisions will bring the production back to its theatrical roots upon its next appearance, please do support this brilliant cast and their spectacular energy as they flourish through the flames.