New York City Center is becoming increasingly appreciated as a place not just to revive underappreciated musicals, but to put them on with all-star casts. From Parade to Ragtime, they’ve had tremendous success. When it was announced they’d be producing 2001 off-Broadway cult classic Bat Boy, I was thrilled. Bat Boy: The Musical is NYCC’s newest production in Encores series, and they have once again brought new life to a hidden gem.
Bat Boy tells the story of a half-boy, half-bat discovered in a cave outside of a West Virginia coal town. We follow the Bat Boy as he transforms from a terrified creature hidden from the world to a respectful scholar embraced by some and distrusted by others. Laurence O’Keefe’s terrific rock score has lived on for decades, but this has been the first production back in New York since the original. Directed by the innovative Alex Timbers, modern audiences are getting a taste of what has kept Bat Boy so beloved throughout the years. They also took this opportunity to improve on the original, with some new songs O’Keefe has written as well as some other alternative choices. And in a full circle moment, Kerry Butler who played the daughter Shelley in the original has now returned as the mother Meredith.
Butler is the superstar of this production. Even without knowledge of her history with this show, she’s warm and delightful as Meredith Parker, who takes in the Bat Boy and helps raise him like family. Her singing is in peak form, with her sustained note in “Three Bedroom House” bringing the audience to their feet. I can only imagine the emotions for Butler to return to a show that helped launch her career, but the appreciation was palpable from the audience. As the titular character who also goes by Edgar, Taylor Trensch is a superb physical actor. When he’s crawling around on all fours as a bat, you truly believe that he’s never had contact with humans. The empathy he creates for Bat Boy makes you truly invested in his journey. His “Let Me Walk Among You” early in Act II is a highlight of the score. Christopher Sieber takes a break from his role in Death Becomes Her to play Dr. Parker, who goes from stoic to unhinged as he becomes increasingly jealous of his wife’s affection for Bat Boy. In what can be a campy show at times, Sieber’s ability to play the villain without becoming a caricature is massive. Rounding out the Parker family is Gabi Carrubba as Shelley, acting alongside the woman who originated the role. Carrubba is a joy to watch, and her character’s new song, “Deer in the Headlights”, is an earworm that instantly becomes one of the best in O’Keefe’s score.
New York City Center’s production of Bat Boy: The Musical is a delight. NYCC has assembled an all-star cast straight, clever direction and production design, and a rock score that will leave you humming long after the curtain call. With its unique blend of dark humor, camp, and a warm message of acceptance, this production gives Bat Boy its long overdue moment to shine.