These things aside there are some things about this production of Bat Out Of hell the musical that just don’t work and foremost amongst these is Gareth Owen’s sound design. Danielle Steers (Zahara) and Wayne Robinson (Jagwire) in Bat Out Of Hell the musical. Emma Portner’s bizarre steps in some scenes like Paradise by the Dashboard Light in particular were more distracting that complimentary to the production. The talented ensemble backing up Bat Out Of Hell are nothing short of perfect, even if straddled with some of the weirdest choreography I’ve ever seen on stage.
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Like Polec Bennington is a talent to watch, her ability to perefectly deliver Steinman classics gave some much needed moments of inner reflection to this full on production and was a joy to hear! These epic talents were perfectly balanced against the soft lyric moments presented by Alex Thomas-Smith’s Tink and Christina Bennington’s Raven. Danielle Steers as sultry but brash Sahara belts it out of the ballpark, Giovani Spano’s Ledoux let’s rip with effortless ease giving a rich full sound to his numnbers, Wayne Robinson’s searing rock tenor a perfect compliment to Danielle Steers and Jonathan Cordin’s Blake although underutilised, bought acting honesty and vocal clarity to his brief passages in the songs. Rob Fowler’s machismo leaps off the stage as he belts his way through Paradise By The Dashboard Light accompanied by onstage wife Sharon Sexton. Indeed, this cast is blessed with some of the most talented vocalists around. Quite where that voice comes from I shall never know but he delivers a flawless performance with a vocal dexterity that I’ve seldom scene in any rock musical. His scrawny, pale build and unkempt hair hide a voice that is perfectly suited to Steinman’s incredible score. The venue mercilessly ate up and spat out the tiny recent production of An American In Paris, but here Jon Bausor’s set designs reach right out into the audience, an extended thrust really brings the audience right into the action in a show where the big scenes are huge and the intimate scenes magically work on a stage that reminds one of grand opera thanks to director Jay Schieb’s careful staging.Īs Strat, Andrew Polec is an incredible find. It’s great that the Dominion Theatre has finally found a show that works in it’s cavernous space. Christina Bennington (Raven) and Andrew Polec (Strat) in Bat Out Of Hell the musical. There’s even a c haracter called Tink and at one point I thought we’d also be asked to yell that we did believe – well luckily, it never got to that. M Barrie’s influencesto set this musical as a dytopian Peter Pan, with Strat and Raven taking on the role of a modern Peter and Wendy, complete with a gang of misfits (lost boys) who have been chemically frozen at the age opf eighteen so as never to age.
Just as Ben Elton’s book for We Will Rock You drew on the Arthurian legend and his Tonight’s The Night shamelessly ripped-off Faust, so to Steinman’s Bat Out Of Hell the musical uses J. It’s to his credit that 40 years later and two sequel albums later, his vision of turning these now classic songs into a staged work has become a reality and it’s quite something to behold. Nobody truly understood Steinman’s attempts to create epic stories in each song driven by the intensity of hjis brand of incredible rock ‘n’ roll.
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I remember watching a made for TV movie many moons ago which chronicled the meeting of a young Jim Steinman and a young Meatloaf and the trials and disappointments involved in writing Bat Out Of Hell and the rejection of the material by just about every record company going. Andrew Polec as Strat in Bat Out Of Hell. Last Updated on 20th April 2018 Douglas Mayo reviews Jim Steinman’s Bat Out Of Hell The Musical which returns to London at the Dominion Theatre.
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