BAT BOY: The Musical at NYCC Encores!- Page 2

[dexter3]

Posted: 10/30/25 at 10:22am

The show is overall fun and wacky as hell with some definite bops. It also feels like the "promising first musical" of a writing team that has evolved by leaps and bounds since it premiered, decades ago. If you think of it through that lense, it's an absolutely success. But by today's standards, it's seriously WTF and far too long, and tonally inconsisstent. It just isn't really firing on all cylinders, especially as it attempts to wrap things up.

 

I'm not sure what message they're trying to hone in on with this version. There are a lot of things it could say, but at the moment it's unclear. 

 

The performances are all stellar. Everyone is interesting and having a great time, and Kerry Butler is on a different LEVEL. Like, she's always been stellar but she's ascended to icon status in this performance. 

 

I bet a 90 min, lightning fast, even-more-campy version of the show could really pop nowadays, though. The show is at it's best when it's really embracing the camp of it al.

Updated On: 10/30/25 at 10:22 AM

[KevinKlawitter]

Posted: 10/30/25 at 11:27am

David Gordon of Theatremania is negative on the material, but admires the execution.

[Sauja]

Posted: 10/30/25 at 11:57am

I didn't know the show before last night, but I had a lot of fun. Kerry Butler was the biggest highlight for me personally. I can imagine this feeling electrifying in a small off-Broadway house. In City Center, it felt a little lost, particularly because of the sound issues. Still, I'm delighted that I saw it. And I think Act 2 was particularly strong. 

[Scarywarhol]

Posted: 10/30/25 at 12:21pm

It definitely helps that this is one of the rare musicals where act 2 is way more exciting than act 1. I think dexter3 is on the money that if this were to be revised, it would have made more sense to tighten it up to a killer 90 minutes. 

[theatergoer3]

Posted: 10/30/25 at 12:24pm

I also went in fresh besides knowing the premise but did hear people talking about the changes. Slight trims could probably help but there’s enough chaos to keep it moving. The cow number was hilarious even if out of left field plot wise. 

Sound mixing in the balcony for the opening was rough. 

[CarmenDeBris]

Posted: 10/30/25 at 8:00pm

The Times is a rave.

[MemorableUserName]

Posted: 10/30/25 at 9:58pm

NY Stage Review

Bat Boy: Musical: Bloodsucker Tale Is Way Too Batty

By David Finkle

★★☆☆☆ At City Center, this allegedly true story, musicalized a nearly decade ago, tells a too-dull tale

https://nystagereview.com/2025/10/30/bat-boy-musical-bloodsucker-tale-is-way-too-batty

[Jordan Catalano]

Posted: 10/30/25 at 10:08pm

Well that was one of the best Encores productions I’ve ever seen. 

[Jordan Catalano]

Posted: 10/31/25 at 10:44am

Talking with someone this morning about the production, I came to the realization that we, as the theater community need to have a serious discussion that I think has been tabled for far too long. And that is that we need to foster new musical theater composers if only to write new LEADING roles for Kerry Butler because this is the caliber of role that she needs and that frankly we should be demanding for her. 

Name me another 54 year old actress who can convincingly play a Mother or a high schooler. The range is insane and the voice sounds better than ever.

[Kad]

Posted: 10/31/25 at 11:11am

MemorableUserName said: "NY Stage Review

Bat Boy: Musical: Bloodsucker Tale Is Way Too Batty

ByDavid Finkle

★★☆☆☆ At City Center, this allegedly true story, musicalized a nearly decade ago, tells a too-dull tale

https://nystagereview.com/2025/10/30/bat-boy-musical-bloodsucker-tale-is-way-too-batty"

Finkle is really such a terrible reviewer. 

[trentsketch]

Posted: 10/31/25 at 11:30am

I don't see myself having the time to see this, which is a shame since I'd be thrilled to catch Kerry Butler in this show again.

Anyway, for those in the know, did they go with the updates from the London production or stick with the original off-Broadway script? The big tell is if they had "Inside Your Heart" or "Mine, All Mine" for Bat Boy and Shelley in Act II.

Updated On: 10/31/25 at 11:30 AM

[Jordan Catalano]

Posted: 10/31/25 at 11:42am

They use "Mine, All Mine"

[kurtal]

Posted: 10/31/25 at 11:44am

There are also some very significant structural changes to the show, particularly as it relates to the townspeople.  These are post-London changes.  But yes, they use "Mine All Mine".

[DomPhilly]

Posted: 10/31/25 at 12:00pm

Jordan Catalano said: "Well that was one of the best Encores productions I’ve ever seen."

So glad to see you say that. I've loved this show since I saw it during the Original Off Broadway run at Union Square, starring Deven May.

[trentsketch]

Posted: 10/31/25 at 12:34pm

kurtal said: "There are also some very significant structural changes to the show, particularly as it relates to the townspeople. These are post-London changes. But yes, they use "Mine All Mine"."

Interesting. I'm glad that they made more changes to the book after London. The new songs were great, but the book had some missed opportunities.

[luisacontini]

Posted: 10/31/25 at 1:44pm

Saw it last night and loved it. I saw the original run decades ago, and while I missed some of the original material, I liked the changes for the most part. The sound was not the best, but it's City Center, and I'm used to it.

Incredible performances from Taylor Trensch (his physicality, warmth, and intensity) and Kerry Butler (WOWOWOW. Knocked Three Bedroom House out of the park). Christopher Sieber and Marissa Jaret Winokur are comedic geniuses.

My main highlight: Gabi Carrubba. I wasn't too familiar with her, but what a BRILLIANT performance. Crystal clear voice with incredible range. Sarcastic and witty sense of humor. And just so charming and moving throughout. I imagine it's difficult to play a role opposite the original actor, but she took on the challenge and crushed it. Casting directors should pay attention to her! What a star turn!

[forgetmenotnyc]

Posted: 10/31/25 at 3:46pm

I went into it not having any idea what it was. I was pleasantly surprised & laughed at times but also found it not successful at times. Taylor Trensch is terrific & so are Kerry Butler & Christopher Seiber. Sound was a problem but not as bad as others I've seen at City Center. Containing the band allowed for hearing the performers but also reduced their power, esp. the drums drive. I hope the run goes well. 

[BoringBoredBoard40]

Posted: 11/1/25 at 12:39am

I thought this was excellent even if I found myself looking at my watch a few times.

If it moved to Broadway it would die a loud financial death.

See it if you can there were plenty of seats tonight!

[HaveAGoodShow]

Posted: 11/1/25 at 5:21pm

I saw BAT BOY this afternoon, and as someone who’s loved the original for years, I’m happy to report this version doesn’t disappoint. (Hearing the title song live honestly gave me goosebumps, as did "Three Bedroom House" and "Comfort and Joy.") I’m not totally sure the new songs make the show better, but they definitely don’t hurt it either.

Kerry Butler is as good as she’s ever been and Taylor Trensch completely steals the show. I did feel a little bad for Marissa Jaret Winokur; she’s such a talented performer, but here she’s mostly stuck yelling through a pretty thankless role.

That said, if you’re curious, go. You can still find tickets on the cheaper side and it’s absolutely worth the trip.

[Auggie27]

Posted: 11/1/25 at 5:55pm

I was there this afternoon and concur with the positive consensus. Butler is giving a career high performance, with Siebert establishing the needed grounding to make the story have stakes and plot credibility within the absurdity. Everyone is solid and it’s surprisingly comfortable in the huge space. I loved the original and enjoyed this better focused iteration. But a transfer to Broadway seems unwise, alas. 

Updated On: 11/1/25 at 05:55 PM

[Dreamboy3]

Posted: 11/2/25 at 7:42am

I dunno. I very much appreciated a few of the performances (Trensch, Corruba and Butler) but as someone not familiar with the show, I found it derivative of Little Shop and others from that era, and a bit dated as it is based on a tabloid headline that the show leans into. I definitely agree with some other posters that it would be more successful if it were trimmed to 90 minutes.  I’d also have liked it more if was more satirical and camp.
 

Given that there is no rake in the front orchestra I’m always surprised that directors don’t take that into account when staging shows there. There was a lot I couldn’t see, especially at the beginning when Trensch is on his hands and knees. 
 

Winokur was just not good. But I also thought she was weak in Hairspray so I guess I just don’t get her appeal. D

[Auggie27]

Posted: 11/2/25 at 9:02am

I believe Deamboy3 nailed the problem in remounting a commercial production: the origin story of the material (if not the titular character) has a negative retro feel, tabloids a quaint part of pop culture in a pre-internet world. That wouldn't matter if the show had a more specific prism on a by-gone era, i.e., if this self-presented as the America of the early 80s. But treating it as a timeless tale of the outsider being bullied/worse hits a few walls with the actual plot. This outsider really does bite people and thirst for blood.

In the talkback yesterday, several people really hit on the misfit angle in the story as a universal. O'Keefe sidestepped it while recognizing that it's in the material's DNA for those who find it.

But at a certain point, allegory fails the Pygmalion story with the gnarly circumstantial stuff: how do we make room for a marginalized human whose hunger makes him predatory to survive?? I'll be accused of overthinking this, but it's the gap between this show and Little Shop. Little Shop is a story of an innocent corrupted, Seymour and Audrey are worthy of audience investment because they stumble into externals-dictated troubles rather than cause it. Bat Boy - and I won't give away its complex reveal - is harder sell as a cautionary tale, despite its Sweeney like entreaty to the audience about the beast within. (Doesn't the end satirize Sweeney? I'll answer: totally.)  

The more obvious parallel is Carrie, another story of an outsider with a skill slash liability. But Carrie is pressed into violence; Bat Boy needs ... to eat. (Carrie, created in the pre-bullying focused America, actually grew into its theme: it had more gravitas post 2000 than in the 80s). In plan old musical theater terms, one asks: "What are we rooting for here?"  For Edgar to curb his appetite if not his enthusiasm enough to find love?  For a 2.5 hour show, do we need a more satisfying answer?  Bad things happen to bad people in the end, but can we apply the take-away easily in 2025?  That said, what a swell score, still.

Updated On: 11/2/25 at 09:02 AM

[Auggie27]

Posted: 11/2/25 at 12:37pm

I’ll just add; I loved “Still Inside My Heart” but “Mine, All Mine” is helluva good number. And reminded me of Carrie, from me a back door compliment. It builds so well in context.

[tomorrowBIGLITES]

Posted: 11/2/25 at 1:07pm

Auggie27 said: "I believe Deamboy3 nailed the problem in remounting a commercial production: the origin story of the material (if not the titular character) has a negative retro feel, tabloids a quaint part of pop culture in a pre-internet world. That wouldn't matter if the show had a more specific prism on a by-gone era, i.e., if this self-presented as the America of the early 80s. But treating it as a timeless tale of the outsider being bullied/worsehits a few walls with the actual plot. This outsider really does bite people and thirst for blood.

In the talkback yesterday, several people really hit on the misfit angle in the story as a universal. O'Keefe sidestepped it while recognizing that it's in the material's DNA for those who find it.

But at a certain point, allegory fails the Pygmalion story with the gnarly circumstantial stuff: how do we make room for a marginalized human whose hunger makes him predatory to survive??I'll be accused of overthinking this, but it's the gap between this show and Little Shop. Little Shop is a story of an innocent corrupted, Seymour and Audrey are worthy of audience investment because they stumble into externals-dictated troubles rather than cause it. Bat Boy - and I won't give away its complex reveal - is harder sell as a cautionary tale, despite its Sweeney like entreaty to the audience about the beast within. (Doesn't the end satirize Sweeney? I'll answer: totally.)

The more obvious parallel is Carrie, another story of an outsider with a skill slash liability. But Carrie is pressed into violence; Bat Boy needs ... to eat. (Carrie, created in the pre-bullying focused America, actually grew into its theme: it had more gravitas post 2000 than in the 80s). In plan old musical theater terms, one asks: "What are we rooting for here?" For Edgar to curbhis appetite if not his enthusiasm enoughto findlove?For a 2.5 hour show, do we need a more satisfyinganswer? Bad things happen to bad people in the end, but can we apply the take-away easily in 2025? That said, what a swell score, still."


It’s the classic “misunderstood monster” back from Hollywood Creature films. He’s kinda Frankenstein.

It’s a fantasy. 
Not every high concept fantasy tale has a direct real world connection.

 

 

[Auggie27]

Posted: 11/2/25 at 1:35pm

You might delve more deeply into the reams allegorical readings of Frankenstein - Shelley  through Whale through Del Toro - before holding it up as model of pure fantasy. Few tales have had as much inferred from their storylines. 

But my post isn’t solely about application to societal woe; Bat Boy has a hard to ascertain audience investment because Edgar is trapped in a no exit plot, leaving us confused about what we’re rooting for. Its resolution is dark and a bit of a headscratcher: forget theme, what are we supposed to feel about Edgar’s plight? I still love it but the story doesn’t quite pull off the pure retro escape of Little Shop.