Reviews
BACKSTAGE WEST REVIEW - CRITIC'S PICK!
Bat Boy: The Musical
April 26, 2007
By Eric Marchese
Director-choreographer T.J. Dawson's staging of this offbeat 1997 musical, the show's Orange County premiere, bursts with life, lending energy to the goofily humorous concept and significance to the darker tone that begins to develop midway through Act 1. Based on tabloid reports about a half-human, half-vampire bat young man, Keythe Farley and Brian Flemming's libretto is a truly quirky "what if?" tale with a diverse, rock-infused score by composer-lyricist Laurence O'Keefe that helps the work morph from musical comedy to grand opera of tragic dimensions.
As Edgar, the "bat boy" whose ache to connect with humanity — his own and that of others — Daniel Dawson shows moving vulnerability, making palpable Edgar's struggle to resist drinking blood, whether rabbit, cow, or human. His physical agility boosts the role's comedic side: With top hat and cane, Edgar's soft-shoe number is reminiscent of the classic "Puttin' on the Ritz" scene from Young Frankenstein, while Edgar's eventual quest for revenge is the stuff of tragedy. The musical's outer ugliness-inner beauty message is a classic theme: Edgar may be part beast, yet he is more gentle and tolerant than those around him.
As Edgar's foster mom, Laura Dickinson is part Suzy Homemaker, part blond bombshell. As her husband, slender, bearded Arie Gonzalez seems an odd choice to portray a country vet, yet he forcefully projects the doctor's homicidal rage toward Edgar. As their daughter, Jeanette Phillips blends discerning tastes and a developing mind of her own with the restless rebellion against authority of any small-town teen.
The songs are brief (as are most of the scenes) yet full of inventive lyrics. The staging is expertly sung by a cast of 13, eight of whom portray a total of 20 or more characters. Many of these supporting roles use cross-gender casting — commentary on the bizarre atmosphere of Hope Falls, W.V., and on the appearance-versus-reality theme.
Music director Patrick Xenakis infuses vibrancy into O'Keefe's already lively score, leading a live band that features Bill Brown, Bob Scarano, and actor Gonzalez. Kiana St. Laurent's flexible scene design looks great, lit in deep-toned hues by Brit Masterson.
Presented by and at Stages Theatre, 400 E. Commonwealth Ave., Suite 4, Fullerton. Fri.-Sat. 8 p.m., Sun. 6 p.m. Apr. 14-May 13. (714) 525-4484. www.stagesoc.org.
O.C. REGISTER REVIEW
ANOTHER BLOODY MUSICAL: This offbeat 1997 show stars Daniel Dawson as Edgar – who is part human, part vampire bat – and Jeanette Phillips as Shelley, whose parents adopt him.
Picture by MO ARII
Sunday, April 22, 2007
'Bat' has biteLocal premiere of the 1997 musical bursts with life at Fullerton's Stages Theatre.By ERIC MARCHESE
Special to the Register
Had Stephen Sondheim not dared to cross the line of traditional stage musicals with his baroque, bloody "Sweeney Todd," it's a sure thing we wouldn't be writing about shows like "Bat Boy: The Musical," which mines territory similarly dark as that of "Sweeney."
Fullerton's Stages Theatre obviously has a predilection for such material, with a rip-roaring good version of the 1979 Sondheim show two seasons ago and, more recently, the sinister yet tongue-in-cheek "Reefer Madness."
"Bat Boy" has been around since its Halloween 1997 opening but is only now getting its Orange County premiere.
Inspired by lurid reports in the Weekly World News tabloid about a young man who's half human, half vampire bat, Keythe Farley and Brian Flemming cooked up a truly quirky "what if?" tale. What if such a creature existed? What if he grew up in a cave in rural West Virginia, was discovered and captured while in his teens, and adopted by a local family?
These presuppositions are only the tip of a bat-boy's fang, for with composer-lyricist Laurence O'Keefe's songs, "Bat Boy" transcends its billing as just "another bloody musical," taking on the coloration of an initially comedic opera that reaches tragic proportions. By the end of "Bat Boy," we've not only learned of how the "bat boy" came to be; we've also seen the effects of his presence on others.
We're in rural West Virginia, in the now depleted coal-mining town of Hope Falls (love that sly pun). Once cave explorers discover the freakish teen with pointy ears and razor-sharp incisors, they capture him and turn him over to the sheriff, who puts him under the care of Dr. Tom Parker, the local vet.
At first, the terrified teen, dubbed Bat Boy, shrieks in terror at being caged (when not hanging upside-down by his feet) – but Parker's wife, Meredith, tenderly sings to him. Treating him like a pet, she names him Edgar.
Like Professor Higgins with Eliza Doolittle, Meredith begins teaching the agitated Edgar to speak – and soon (with the help of some BBC language tapes), he's conversing, with impeccable diction, in a cultured voice.
The townsfolk, though, aren't so ready to accept Edgar into their midst. The show's fulcrum occurs when Dr. Parker realizes his wife loves Edgar far more than she does him. As his homicidal rage toward Edgar grows, so do the operatic overtones of "Bat Boy."
In the hands of director and choreographer T.J. Dawson, there's no denying the show's goofily humorous yet dark, gothic tone. At its core, the musical trumpets the same outer-hideousness, inner-beauty theme as "The Ugly Duckling" or "The Elephant Man." Though part beast, Edgar is more civilized and tolerant than those around him.
Dawson's staging bursts with life and energy. Musical director Patrick Xenakis infuses O'Keefe's already vibrant score. As are most of the play's scenes, the songs are brief yet brimming with inventively rhymed lyrics. Infused with rock, the score offers everything from a hoedown ("Another Dead Cow") to a tango ("Dance With Me, Darling").
"Bat Boy" is well-sung by an expert cast that also knows a thing or two about carving out a character. Front and center is Daniel Dawson's physically and emotionally agile work as Edgar, whose ache to connect with humanity is touching. His high-stepping soft-shoe "Show You a Thing or Two" rivals Mel Brooks' classic "Puttin' on the Ritz" scene from "Young Frankenstein" – and once rejected, Edgar's quest for revenge is the stuff of grand opera.
Laura Dickinson's Meredith combines '50s-style perfect housewife with blond sexpot. Jeanette Phillips' Shelley is the classic small-town teen: energetic, boy-crazy and dying to rebel against her parents. As Dr. Parker, the thin, bearded Arie Gonzalez is scarcely the image of a country vet, but like the entire cast, his vocals carry the score.
Eight of the cast's 13 actors portray a total of 20 or more characters, with a fair share of cross-gender casting in the mix. One could easily chalk up the sight of mustachioed women and bewigged men as commentary on the bizarre atmosphere of Hope Falls. It's more tempting, though, to presume this is no accident, so perfectly is it attuned to the show's overarching theme of appearance vs. reality.
The technical and production aspects soar as well. Xenakis leads a band that features Bill Brown, Bob Scarano and actor Gonzalez. Kiana St. Laurent's flexible scenic design is enhanced by Brit Masterson's lighting design, which favors deep-toned hues. It's all in the service of a singular show that starts out giddy before sobering up.
Contact the writer: Freelance writer Eric Marchese has covered entertainment for the Register since 1984. [email protected]
'Bat Boy: The Musical'•Where: Stages Theatre, 400 E. Commonwealth Ave., Fullerton
•When: Through May 13. 8 p.m. Fridays-Saturdays, 6 p.m. Sundays
•How much: $18
•Length: 2 hours, 25 minutes
•Suitability: Teens and adults (for language and content)
•Call: 714-525-4484
•Online: www.stagesoc.org
"ROAR OF THE CROWD" WINNER - www.goldstarevents.com
This week's Roar of the Crowd winner turns a tabloid story into a musical! In this creative interpretation of a "true" story, sheriffs discover a half-boy/half-bat creature in a cave and one of the families in town accepts it into their home. Raymond Nation describes it as, "frightening, funny, and serious all rolled into one." Mathew Watkins exclaims, "This was just TOO awesome!" And Joanna Smith says,"Extremely entertaining. Made me laugh and almost cry."
Bat Boy: The Musical
April 26, 2007
By Eric Marchese
Director-choreographer T.J. Dawson's staging of this offbeat 1997 musical, the show's Orange County premiere, bursts with life, lending energy to the goofily humorous concept and significance to the darker tone that begins to develop midway through Act 1. Based on tabloid reports about a half-human, half-vampire bat young man, Keythe Farley and Brian Flemming's libretto is a truly quirky "what if?" tale with a diverse, rock-infused score by composer-lyricist Laurence O'Keefe that helps the work morph from musical comedy to grand opera of tragic dimensions.
As Edgar, the "bat boy" whose ache to connect with humanity — his own and that of others — Daniel Dawson shows moving vulnerability, making palpable Edgar's struggle to resist drinking blood, whether rabbit, cow, or human. His physical agility boosts the role's comedic side: With top hat and cane, Edgar's soft-shoe number is reminiscent of the classic "Puttin' on the Ritz" scene from Young Frankenstein, while Edgar's eventual quest for revenge is the stuff of tragedy. The musical's outer ugliness-inner beauty message is a classic theme: Edgar may be part beast, yet he is more gentle and tolerant than those around him.
As Edgar's foster mom, Laura Dickinson is part Suzy Homemaker, part blond bombshell. As her husband, slender, bearded Arie Gonzalez seems an odd choice to portray a country vet, yet he forcefully projects the doctor's homicidal rage toward Edgar. As their daughter, Jeanette Phillips blends discerning tastes and a developing mind of her own with the restless rebellion against authority of any small-town teen.
The songs are brief (as are most of the scenes) yet full of inventive lyrics. The staging is expertly sung by a cast of 13, eight of whom portray a total of 20 or more characters. Many of these supporting roles use cross-gender casting — commentary on the bizarre atmosphere of Hope Falls, W.V., and on the appearance-versus-reality theme.
Music director Patrick Xenakis infuses vibrancy into O'Keefe's already lively score, leading a live band that features Bill Brown, Bob Scarano, and actor Gonzalez. Kiana St. Laurent's flexible scene design looks great, lit in deep-toned hues by Brit Masterson.
Presented by and at Stages Theatre, 400 E. Commonwealth Ave., Suite 4, Fullerton. Fri.-Sat. 8 p.m., Sun. 6 p.m. Apr. 14-May 13. (714) 525-4484. www.stagesoc.org.
O.C. REGISTER REVIEW
ANOTHER BLOODY MUSICAL: This offbeat 1997 show stars Daniel Dawson as Edgar – who is part human, part vampire bat – and Jeanette Phillips as Shelley, whose parents adopt him.
Picture by MO ARII
Sunday, April 22, 2007
'Bat' has biteLocal premiere of the 1997 musical bursts with life at Fullerton's Stages Theatre.By ERIC MARCHESE
Special to the Register
Had Stephen Sondheim not dared to cross the line of traditional stage musicals with his baroque, bloody "Sweeney Todd," it's a sure thing we wouldn't be writing about shows like "Bat Boy: The Musical," which mines territory similarly dark as that of "Sweeney."
Fullerton's Stages Theatre obviously has a predilection for such material, with a rip-roaring good version of the 1979 Sondheim show two seasons ago and, more recently, the sinister yet tongue-in-cheek "Reefer Madness."
"Bat Boy" has been around since its Halloween 1997 opening but is only now getting its Orange County premiere.
Inspired by lurid reports in the Weekly World News tabloid about a young man who's half human, half vampire bat, Keythe Farley and Brian Flemming cooked up a truly quirky "what if?" tale. What if such a creature existed? What if he grew up in a cave in rural West Virginia, was discovered and captured while in his teens, and adopted by a local family?
These presuppositions are only the tip of a bat-boy's fang, for with composer-lyricist Laurence O'Keefe's songs, "Bat Boy" transcends its billing as just "another bloody musical," taking on the coloration of an initially comedic opera that reaches tragic proportions. By the end of "Bat Boy," we've not only learned of how the "bat boy" came to be; we've also seen the effects of his presence on others.
We're in rural West Virginia, in the now depleted coal-mining town of Hope Falls (love that sly pun). Once cave explorers discover the freakish teen with pointy ears and razor-sharp incisors, they capture him and turn him over to the sheriff, who puts him under the care of Dr. Tom Parker, the local vet.
At first, the terrified teen, dubbed Bat Boy, shrieks in terror at being caged (when not hanging upside-down by his feet) – but Parker's wife, Meredith, tenderly sings to him. Treating him like a pet, she names him Edgar.
Like Professor Higgins with Eliza Doolittle, Meredith begins teaching the agitated Edgar to speak – and soon (with the help of some BBC language tapes), he's conversing, with impeccable diction, in a cultured voice.
The townsfolk, though, aren't so ready to accept Edgar into their midst. The show's fulcrum occurs when Dr. Parker realizes his wife loves Edgar far more than she does him. As his homicidal rage toward Edgar grows, so do the operatic overtones of "Bat Boy."
In the hands of director and choreographer T.J. Dawson, there's no denying the show's goofily humorous yet dark, gothic tone. At its core, the musical trumpets the same outer-hideousness, inner-beauty theme as "The Ugly Duckling" or "The Elephant Man." Though part beast, Edgar is more civilized and tolerant than those around him.
Dawson's staging bursts with life and energy. Musical director Patrick Xenakis infuses O'Keefe's already vibrant score. As are most of the play's scenes, the songs are brief yet brimming with inventively rhymed lyrics. Infused with rock, the score offers everything from a hoedown ("Another Dead Cow") to a tango ("Dance With Me, Darling").
"Bat Boy" is well-sung by an expert cast that also knows a thing or two about carving out a character. Front and center is Daniel Dawson's physically and emotionally agile work as Edgar, whose ache to connect with humanity is touching. His high-stepping soft-shoe "Show You a Thing or Two" rivals Mel Brooks' classic "Puttin' on the Ritz" scene from "Young Frankenstein" – and once rejected, Edgar's quest for revenge is the stuff of grand opera.
Laura Dickinson's Meredith combines '50s-style perfect housewife with blond sexpot. Jeanette Phillips' Shelley is the classic small-town teen: energetic, boy-crazy and dying to rebel against her parents. As Dr. Parker, the thin, bearded Arie Gonzalez is scarcely the image of a country vet, but like the entire cast, his vocals carry the score.
Eight of the cast's 13 actors portray a total of 20 or more characters, with a fair share of cross-gender casting in the mix. One could easily chalk up the sight of mustachioed women and bewigged men as commentary on the bizarre atmosphere of Hope Falls. It's more tempting, though, to presume this is no accident, so perfectly is it attuned to the show's overarching theme of appearance vs. reality.
The technical and production aspects soar as well. Xenakis leads a band that features Bill Brown, Bob Scarano and actor Gonzalez. Kiana St. Laurent's flexible scenic design is enhanced by Brit Masterson's lighting design, which favors deep-toned hues. It's all in the service of a singular show that starts out giddy before sobering up.
Contact the writer: Freelance writer Eric Marchese has covered entertainment for the Register since 1984. [email protected]
'Bat Boy: The Musical'•Where: Stages Theatre, 400 E. Commonwealth Ave., Fullerton
•When: Through May 13. 8 p.m. Fridays-Saturdays, 6 p.m. Sundays
•How much: $18
•Length: 2 hours, 25 minutes
•Suitability: Teens and adults (for language and content)
•Call: 714-525-4484
•Online: www.stagesoc.org
"ROAR OF THE CROWD" WINNER - www.goldstarevents.com
This week's Roar of the Crowd winner turns a tabloid story into a musical! In this creative interpretation of a "true" story, sheriffs discover a half-boy/half-bat creature in a cave and one of the families in town accepts it into their home. Raymond Nation describes it as, "frightening, funny, and serious all rolled into one." Mathew Watkins exclaims, "This was just TOO awesome!" And Joanna Smith says,"Extremely entertaining. Made me laugh and almost cry."
