26-year-old Patrick Bateman is sophisticated, rich and devastatingly handsome. He's got a sculpted body, a model-gorgeous girlfriend, a to-die-for apartment, and a Wall Street job in 1980s New York City. In short, his life's killer. There's just one snag in this dark vision of the American Dream... Patrick can't get the blood out of his $5000 suits.
Based on the best-selling novel by Bret Easton Ellis, and set in the epicenter of excess: 1980s Manhattan, this hit musical tells the story of Patrick Bateman, a young and handsome Wall Street banker with impeccable taste and unquenchable desires. Patrick and his elite group of friends spend their days in chic restaurants, exclusive clubs and designer labels. But at night, Patrick takes part in a darker indulgence, and his mask of sanity is starting to slip...
And the show anchored by a tour-de-force, star-is-born performance by Walker, whose Patrick is much more human and oddly endearing than either Christian Bale's smirky, scenery-chewing version in the 2000 film adaptation, or Ellis' wholly vile original creation. 'American Psycho' still has ice in its veins - Patrick spews his venom at gays, women and pretty much anyone who didn't go to Harvard - but Walker (best known for 'Bloody Bloody Andrew Jackson' and the film 'Abraham Lincoln: Vampire Hunter') also allows you to feel the faint stirrings of a beating heart within. He makes the convincing case that Patrick is as much a victim in this story as the people he brutalizes.
Though it often looks as carefully and cosmetically arranged as a window at Barneys, Patrick's favorite store,...'American Psycho' is a mess. That's not because of all that sloppy, sloshy blood, but because of its terminally undecided tone. This latest incarnation...suffers from the weight of having to be a big Broadway musical...Even more than Matt Smith, who originated the role in London, Mr. Walker presents Patrick as an insecure man who deeply needs to fit in and despises himself for doing so...Mr. Walker, who oozed charisma in 'Bloody Bloody Andrew Jackson,' holds the show together, for sure...Mostly, though, this psycho is neither scary nor sexy, nor is the show in which he appears.
| 2016 | Broadway |
Original Broadway Production Broadway |
| Year | Ceremony | Category | Nominee |
|---|---|---|---|
| 2016 | Drama Desk Awards | Outstanding Actor in a Musical | Benjamin Walker |
| 2016 | Drama Desk Awards | Outstanding Choreography | Lynne Page |
| 2016 | Drama Desk Awards | Outstanding Costume Design for a Musical | Katrina Lindsay |
| 2016 | Drama Desk Awards | Outstanding Director of a Musical | Rupert Goold |
| 2016 | Drama Desk Awards | Outstanding Lighting Design for a Musical | Justin Townsend |
| 2016 | Drama Desk Awards | Outstanding Projection Design | Finn Ross |
| 2016 | Drama Desk Awards | Outstanding Set Design for a Musical | Es Devlin |
| 2016 | Drama Desk Awards | Outstanding Sound Design in a Musical | Dan Moses Schreier |
| 2016 | Drama League Awards | Distinguished Performance Award | Benjamin Walker |
| 2016 | Drama League Awards | Outstanding Production of a Broadway or Off-Broadway Musical | American Psycho |
| 2016 | Outer Critics Circle Awards | Outstanding Actor in a Musical | Benjamin Walker |
| 2016 | Outer Critics Circle Awards | Outstanding Costume Design (Play or Musical) | Katrina Lindsay |
| 2016 | Outer Critics Circle Awards | Outstanding Director of a Musical | Rupert Goold |
| 2016 | Outer Critics Circle Awards | Outstanding Featured Actress in a Musical | Helene Yorke |
| 2016 | Outer Critics Circle Awards | Outstanding Lighting Design (Play or Musical) | Justin Townsend |
| 2016 | Outer Critics Circle Awards | Outstanding New Broadway Musical | American Psycho |
| 2016 | Outer Critics Circle Awards | Outstanding New Score (Broadway or off-Broadway) | Duncan Sheik |
| 2016 | Outer Critics Circle Awards | Outstanding Projection Design (Play or Musical) | Finn Ross |
| 2016 | Tony Awards | Best Lighting Design of a Musical | Justin Townsend |
| 2016 | Tony Awards | Best Scenic Design of a Musical | Es Devlin |
| 2016 | Tony Awards | Best Scenic Design of a Musical | Finn Ross |
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