Think Meat Loaf. Think Post-apocalyptic New York City. Think Peter Pan meets Romeo and Juliet. With a 1980’s edge.
Great. Now you’ve positioned yourself properly to explore the grungy and desolate tunnels of Obsidian, which are populated by no other than the Lost (the wasted youth, who are frozen at the ripe age of 18). These so-called “freezers” are seemingly misunderstood by the outside world that lives above their tunnels, but it’s clear that all they crave is connection (and maybe a bit of good old fashioned teenage rebellion).
The leader of the Lost, Strat (Andrew Polec) begs the timeless question “Would you offer your throat to the wolf with the red roses?” (have at it, Meat Loaf fans!) from the top of the show, where we meet him searching for his love. It soon becomes clear that he’s not searching from one of his own. It’s revealed through high energy and extravagant numbers that he fancies the young and virginal Raven (Christina Bennington) who is the daughter of tycoon Falco (Bradley Dean) and Sloane (Tony Winner, Lena Hall) — exactly who Strat has been warned to stay away from. Cue the power chords and grand motorcycle entrances.
The bold and daring staging (directed by Jay Schieb) offers a unique take on the classic Peter Pan fairytale, drenched in fantasy and complete with live video projections that have an 80’s MTV aesthetic. These were mainly used during scenes featuring Raven (think sheltered princess being held hostage in her tower) as we zoom in on her fleeting youth and changing perspectives, a constant theme throughout the entirety of the plot. The set (design by John Bouser) and lighting (Patrick Woodroffe) offer an ever-lasting love letter to the Meat Loaf culture for longtime fans of the 1977 album that will remain frozen in time, just like Strat and the Lost. The costuming (also Bouser) is chock full of ripped clothing and leather items, intensifying the hyper sexualization of these young adults and their yearning to explore something deeper than the world they’ve come to know.
The acting, high-energy and dynamic across the board — it’s clear that Polec’s spirited and confident presence trickles down to ever member of the ensemble, truly inserting the audience into a tight knit family of friends. Among the most notable performances was Hall’s portrayal of Sloane — a flawed, yet caring woman with a bit of a *rebellious* side that stayed with her into her adult years is relatable to anyone who has ever questioned where they are in life. The energy between her and Dean (plays Falco) is tense and uncomfortable in the best way possible, accurately showcasing what happens when once passionate flames grow old. Dean and Hall have the honor of performing one of the show-stopping numbers in the show (not to mention what most audience members most likely paid to see) “Paradise by the Dashboard Light” and they do not disappoint — the iconic anthem of teenage lust and wonder, comes to life with inventive staging (don’t you worry, a car is involved!) that separates the present from the past. This scene is imperative in depicting how people change as the years go by and the need for connection (aha! what the Lost are looking for!) when it comes to maintaining a meaningful relationship.
Musically, the songs certainly differ from the originals (music supervision and additional arrangements by Michael Reed, orchestrations by Steve Sidwell and music direction by Ryan Cantwell). However, they progress the story of passion and youth by heightening the theatrics and marrying Steinman’s story, music, and lyrics beautifully and cohesively. Polec, Dean, and Hall are the standout vocalists in the show. In fact, “It’s All Coming Back to Me Now” because the powerful voices were a notable highlight of the production.
Overall, the production is powerful, over-the-top, and true to a quote by Jim Steinman himself, “If you don’t go over the top, you can’t see what’s on the other side”.
Bat Out of Hell began performances Off-Broadway on August 1 and is currently running at New York City Center through September 8, 2019 following runs in London and Toronto. For tickets, full cast, and more information visit https://batoutofhellmusical.com/new-york/
