BAT BOY is the Comedy Horror Musical You Didn’t Know You Need
New Line Theatre production of Bat Boy has an odd but satisfying plot and all the elements of a sweet, romantic musical – a flawed but likeable hero, a girl who falls for that hero, a rival for her affections at odds with the hero, and a villain who threatens to destroy any chance at happiness the hero may have. But the darkly funny story, directed by Scott Miller and Chris Moore, is anything but typical.
Three siblings exploring a cave near Hope Falls, Virginia make a startling discovery, the cave is inhabited by someone, or something, who attacks and bites one of the young explorers. She’s taken to the hospital for treatment, and her attacker is captured, but his appearance – quite pale with big eyes, pointed ears, and very sharp fangs – shocks and frightens the townspeople. The young man with odd features and a taste for blood is turned over to Dr. Parker, the local veterinarian, with the hopes that he will put the boy down. Kept in a cage to prevent him from harming others, the young man captures the sympathy of Mrs. Parker – she pleads for his life and teaches him manners and how to speak – and the heart of young Shelley Parker. Given the name Edgar, the boy is a quick learner and eager to please. But can he overcome his wild ways, be accepted and forgiven, and make a life in town, or will he become the scapegoat for the town’s troubles?
The plot is entertaining and compelling, several of the songs are quite catchy, and the characters are exaggerated in ways that add to the enjoyment of this oddly appealing musical. Dr. Parker, played with desperation and longing by Ian McCreary, has the most interesting story arc. He and his wife have a dark secret that’s driving his increasingly erratic and fatal behavior and threatens to tear his family apart. Brittany Kohl is sympathetic as Mrs. Parker, a woman caught between the truth and maternal emotions. Marlee Wenski, as their teenage daughter Shelley, hits all the right notes of adolescence – she’s impatient, impetuous, and infatuated. And Rafael DaCosta is terrific as the initially frightened Bat Boy who transforms into the polite and confident Edgar. The ensemble is solid, and Bee Mecey, Ronmal Mottley, Zachary Thompson, and Chelsie Johnston stand out as the Taylor family and other characters.
The choreography is fun, particularly for big numbers like “Hold Me Bat Boy” and “A Joyful Noise,” and the four piece band, under the direction of conductor and keyboardist Jason Eschhofen, keeps the tempo fast without overpowering the singers. Dr. Parker’s songs, from “Dance with Me, Darling” to “Parker’s Epiphany” and “More Blood” effectively showcase the veterinarian’s descent from upstanding citizen to murderous madman, while “A Home for You,” and “Three Bedroom House” reveal his wife’s increasing connection to Edgar. And then there’s the Felliniesque “Children, Children,” a sort of fantasy fever dream that seemingly pops up from nowhere yet somehow fits in perfectly with the tone and humor of the show.
Underneath the comedy, and despite the tabloid sensationalism about the lead character, Bat Boy, written by Keythe Farley and Brian Fleming with music and lyrics by Laurence O’Keefe, offers a lesson in acceptance and kindness. While it’s highly improbable that anyone in the audience has or will ever see someone who is mostly human but part bat, we are likely to encounter are people who look strikingly different than us. It is often too easy to dismiss or disparage people who don’t fit society’s cookie-cutter norms when we should be more like Mrs. Parker and show kindness, not judge people harshly simply because of their looks. That’s a lesson we can all take to heart and New Line Theatre delivers the message with surprising heart as well as good humor. The musical is a lot of fun and a surefire hit that will appeal to mature audiences, especially those who enjoy their musicals with a little blood and a touch of horror story suspense.
