Review: BAT BOY at GEM Theatre

Before the hit movie-to-musical adaptations Legally Blonde and Heathers, Laurence O’Keefe wrote Bat Boy, a cult classic camp-horror musical about a boy who is half human and half bat. Traces of O’Keefe’s later works are present in the 1997 musical, foreshadowing his composing career, but as the GEM Theatre in Garden Grove, CA, opened their production of this show, this reviewer found himself thinking of a different cult classic: Reefer Madness. 

Bat Boy is odd, to say the least. The opening number has strangely sensual lyrics describing a monster that few characters have even heard of yet, and the weirdness just amps up from there. The story hits many typical beats for a Gothic story about a monster yearning for acceptance, à la Frankenstein or The Phantom of the Opera; it does so with ridiculous dialogue by librettists Keythe Farley and Brian Flemming and O’Keefe’s signature style of lyrics that are conversational and simple so that the jokes stand out. This take on the Frankenstein themes brim with absurdity. Act Two goes completely off the rails, in a somehow controlled fashion. That is, the events of Act Two generally make sense to follow those of Act One. They’re just odd.

Above is a comparison to Reefer Madness, a cult classic camp-horror musical that premiered shortly after Bat Boy (Bat Boy made its Los Angeles debut in 1997 and opened Off-Broadway in 2001; Reefer Madness opened in Los Angeles in 1998 and began its Off-Broadway run in 2001 as well. Suffice to say, with The Rocky Horror Show running on Broadway at the time, New York City had its fill of camp-horror cult classic musicals in 2001.). Reefer Madness, by Kevin Murphy and Dan Studney, parodies the 1936 anti-marijuana propaganda film of the same name. Bat Boy breathes new life into the 1990s tabloid story about a half-boy, half-bat creature found in a cave. Running fast and far with the potential for absurdity found from their origin stories, Reefer Madness and Bat Boy both feature surprisingly sensual lyrics and horrific scenarios played for laughs. They get these laughs, however uncomfortable the giggles may be. The two musicals contrast in likely fashion as well: one discusses corruption and the other, in a sense, rehabilitation.

This production at the GEM Theatre by One More Productions shines. Directed by Damien Lorton, the show captures as much ridiculousness as possible, featuring puppets and glitter and shameless acting. The performers excelled. Standouts included Adriana Sanchez as the doting and caring Meredith Parker, Sasha Baker as Meredith’s overly hormonal daughter Shelley, and Trevin Stephenson as the Reverend Billie Hightower/Mrs. Taylor/Roy/Institute Man. Stephenson had a series of small but mighty roles, never failing to earn the most laughs when on stage. Baker was tasked with playing probably the most cringe-worthy character, and she approached it with gusto. Her performance, which would be considered wildly over-acted in any other role, highlighted the ludicrous lines and traits that her character has. Adriana Sanchez perfectly captures the maternal figure that the Bat Boy never knew. Indeed, the most memorable songs include her solo “A Home For You” and her Act Two duet with Baker, “Three Bedroom House.” Jack Janowicz (Edgar/Bat Boy) thrills with his eleven o’clock number “Apologies to a Cow.” He delivers an adept performance of a half-bat, with remarkably natural movement. 

The entire cast excels in their roles. They channel intensity where it is needed, and they are not afraid to let the written-in camp pour out. While the material itself is of mixed quality, the same cannot be said for the production. 

Bat Boy seeks to thrill and freak out its audience. The GEM’s production does just that. Whether in fear or fun, in surprise or in shock, this show is sure to make you shriek.

Bat Boy runs at the GEM Theatre in Garden Grove, CA until October 25th.

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