Sometimes a musical comes along that perplexes and enchants simultaneously, but whose description may sound off-putting. BAT BOY: THE MUSICAL now playing in a fabulous production by Second Generation Theatre is such a production. Part Marvel comic come to life on stage, it is also a mix of a graphic novel meets SWEENEY TODD , and part ROCKY HORROR SHOW with a smattering of LITTLE SHOP OF HORRORS sprinkled with FATHER KNOWS BEST.
The 1997 Off-Broadway Cult Musical with Music and Lyrics by Laurence O'Keefe and a Book by Keythe Farley and Brian Flemming recently made a splash comeback when NY City Center ENCORES presented it earlier this year to great acclaim, with a new recording just released. The bizarre story happens in a minute back water town of Hope Falls, West Virginia where stories of a "bat boy" who lurks in the caves actually is found after he attacks a young girl. The bat boy is brought to the home of the town veterinarian to decide whether he should be killed. The vet's wife convinces her husband to spare the bat boy and socialize him, alongside their own daughter. But the townspeople protest protest at every turn. They also believe he is the root cause of the mystery death of the cattle .
The plot is odd, the town is made up of wonderfully goofy simpletons who play double roles, but add color to the backwoods nature of the story.
Ricky Needham as Bat Boy gives a tour de force performance in a role that would challenge any actor. Needham morphs from rabid grunting animal, to purring coy cuddly grunting boy with convincing charm. By the time he learns to speak he has endeared you with his charm and grin full of fanged teeth . Needham's strong vocals were riveting, as the score demands a rock edge but also a legit tenor voice. His tall stature, shaved head and pointed ears make him visually hard to love, but when Needham learns to speak in a pointed British accent and sing like a bird, he is perfection as Bat Boy every way.
Michele Marie Roberts gets the juicy role of Meredith Parker, the veterinarian's wife who rallies for Boy Boy (who she soon names Edgar). Clad in proper starched dresses and pearls, Meredith is the picture of propriety. Roberts gives a perfect portrayal, with a crystal clear voice that can belt when needed, and an assertive, yet motherly love. Her Meredith can be goofy at one turn then cold and frigid.
Audree Woods is lovely as Shelley Parker, Meredith's daughter, the angst ridden teen who at first detests the Bat Boy but soon falls in love with him. Woods and Needham have some great chemistry and sing a glorious second act love duet.
Marc Sacco sinks his teeth into the role of our town veterinarian, Dr. Parker. Prone to drinking and living a sexless marriage, Parker becomes unhinged soon after discovering the Bat Boy has been brought to his home. Sacco's descent in madness is quite hilarious and he is a great foil to the goodness that Bat Boy tries to impart onto the society of Hope Falls. He traipses about with a syringe full of poison and a flask of liquor in great comedic style.
Arin Lee Dandes is charming as the pint sized the quirky town Sheriff. Joe Greenan gets to shine as the Visiting Reverend, whose revival meeting raises the roof thanks to his fancy footwork. A special nod goes to Dave Spichalski whose portrayal as bereaving Mrs. Taylor was side-splittingly hilarious.
The rest of the large ensemble included the multitalented Thomas Evans, Danielle B. Walker, Dan Urtz, Karen Harty, Kai Crumley, Collin McKee-Jackson and Sabrina Kahwaty Garcia.
Director and Choreographer Doug Weyand clearly understands this tongue and cheek style of comedy. The broad brushstrokes needed for the townsfolk with their idiosyncrasies, the over the top physicality of the bat boy as he transitions from feral beast to human, as well as the humanity of genuine emotions of maternal love all were handled deftly. The spirited dancing was always creative, like subtle nods to actual bat movements that was gleefully and subtly noted in the opening number.
The large Set Design by Chris Cavanagh was simple and effective, allowing his lighting to add the requisite atmosphere to the often eerie surroundings. Costumes by Devin Prokop fit the bill at every turn.
Music Director Ian Liedke led the great five piece off stage band.
The score is quite catchy and has glimpses of greatness. "Three Bedroom House" sung by Meredith and Shelley oozes of Sondheim influences, while the poignant love duet "Inside Your Heart" harkens back to some good old Rodgers and Hammerstein tunes. The theme of acceptance pervades this offbeat musical that at first glance may seem like a gory romp. Physical differences and begging to be accepted make Bat Boy's story universal. Told through a sympathetic lens and an open mind, Farley and Flemming's story hits a bit deeper upon the reflection the following day. Challenge yourself, see a bloody great show, and let Bat Boy's story provoke your mind.
BAT BOY THE MUSICAL is presented by Second Generation Theatre at Shea's Smith theatre through October 18, 2026. Contact sheas.org for more information.
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