'Bat Boy' has some biting humor

By Christopher Tower
For the Enquirer

If the grocery store checkout-line headlines -- "Big Foot Stole My Wife"; "UFO Returns Elvis to Earth" -- have caught your eye or made you read the outlandish articles of The Weekly World News, then you're going to love "Bat Boy," the latest production of the Barn Theatre.

Though "Bat Boy" may not ever be acclaimed as a masterpiece of the musical theater, the Barn should be praised for taking a chance on a show about which the general audience of southwestern Michigan knows nothing.

Sadly, the Barn only half-filled the yawning cavern of its playhouse Tuesday night with patrons brave enough to trust the thespian savvy of the Barnies.

What greeted these theatrical adventurers was a hip, post-modern rock musical about a half-boy, half-bat found in a cave outside the small town of Hope Falls, W.Va.

Based on a story from The Weekly World News, "Bat Boy" features great music by Laurence O'Keefe with catchy melodies, whimsical arrangements and clever lyrics.

The story by Keythe Farley and Brian Fleming, though weak, offers plenty of character and situational humor.

The Barn compares "Bat Boy" to hits such as the "Rocky Horror Show" and "Little Shop of Horrors," but the similarities cease at the ghastly subject matter of a mutated boy who drinks blood but wants to be treated like everyone else.

Instead "Bat Boy" is more of a parody of established musicals, a tour de force of sophisticated humor and satire, such as a wonderful rib at "the Elephant Man" with the line "I am an animal, not a boy!"

The first song "Hold Me, Bat Boy" hints of "Jesus Christ Superstar" and "Tommy" and sets up the show's final message, urging viewers to "love your Bat Boy" and to "know your Bat Boy."

Along with strong direction by Scott Burkell and Joe Aiello, the Barn's wonderful company makes up for any weaknesses of the show's structure or script.

Penelope Alex once again proves why she's the cornerstone of the Barn's talent pool each year. Her performance as Meredith Parker, the woman who takes in the Bat Boy, is riveting.

Scott Burkell plays her husband, Dr. Parker, and provides a diabolical complement to Alex's sweetness.

Kelley Bray plays the Parker daughter, Shelley, and though she delivers a good performance, she seems cast primarily for her appearance while others in the ensemble might have made better, cast-against-type choices as Shelley.

Most of the character actors play multiple roles, which only adds to the show's hilarity. Eric Peterson once again shows off an extensive comic range, like Jim Carrey, and proves why he is surely destined for stardom.

Roy Brown, Eric Parker, Joe Aiello, Brooke Evans all turn in hilarious performances. Rachel Simpson demonstrates why she deserves more stage time. And the little-seen Will Mann, a barn show favorite, stuns the audience as a revival preacher.

But the star of the show is definitely the Bat Boy himself, played by Ryan Stutz. He's an actor of compelling skill and a chance to watch him work is alone an excellent reason to see this show.

Following the mainstage show, the Barnies host an excellent show in the Rehearsal Shed lounge, in which up-and-coming Barnies are able to strut their stuff, showing why so many of them deserve more time on the mainstage.

Though local audiences may not know "Bat Boy," it's well worth the cost of tickets. As the show itself entreats: "love your bat boy." Local audiences should take this sentiment to heart.

Originally published Friday, July 9, 2004
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‘Bat Boy’ is bloody-good, if odd, musical
by Sue Merrell
Grand Rapids Press

If the screaming headlines of supermarket tabloids could be translated into a musical, it probably would be a lot like the Barn Theatre’s production of “Bat Boy: The Musical.”

Inspired by a series of stories that appeared in Weekly World News, the two-and-a-half-hour cult musical is part sentiment and part spoof that will have you gasping in horror one moment and laughing the next.

Laurence O’Keefe has written witty rhyming lyrics and catchy tunes, so don’t be surprised if you’re humming, “Hold Me, Bat Boy” on the way home.  The songs range from rap and tango to gospel and kick-up-your-heels production number.

It’s the story of a half-bat child found in a cave outside a small West Virginia town.  He’s adopted by the veterinarian’s family, but his hunger for blood threatens his desire to fit into society.

Co-directors Scott Burkell and Joe Aiello have captivated on the voyeuristic attitude of tabloids by creating a chorus of singers dressed in gray who seem to symbolize all the tabloid readers out there.  They move huge tabloid pages around the set as they sing the opening number, then watch the action from the sidelines and even get involved in some scenes by providing props.  This was particularly effective on “A Home For You” as, one by one, the chorus members light a candle and warm the darkened stage.

Burkell portrays an over-the-top, Jekyll-and-Hyde veterinarian who takes care of Bat Boy to please his wife, Meredith, but ends up so jealous that he kills to discredit the creature.  Aiello is the aw-shucks sheriff who tries to keep the community calm.

Penelope Alex is the stereotypical 1950s wife, Meredith, who connects with the creature and teaches him to speak in “Show You a Thing or Two.”

First-year intern Ryan Stutz gave a standout performance as the animalistic Bat Boy, especially in the powerful song “Let Me Walk Among You.”  Although he didn’t have any visible fangs and he kept forgetting to use the British accent Bat Boy learns, his reversion to bat squeals when frustrated was most believable.

Kelley Bray is the bored teen Shelley Parker who becomes Bat Boy’s biggest defender.

Perhaps the funniest part of the show is a handful of actors who play multiple townspeople, switching between male and female roles at the tip of a hat.  Eric Petersen did a wonderful job of this, creating a cocky teenager, a doctor from India , a pipe-chewing rancher and a fan-waving blonde.  Eric Parker transformed from a busybody lady to a tough cowpoke as fast as he could drop the kerchief on his head to a bandanna at his neck.

The audacity of such changes right in front of the audience – including having dead bodies pop up to be other characters – challenges our powers of disbelief much like an outrageous tabloid tale.

In between all this craziness there is a message about accepting those who are different.

Scene changes went quickly, with portable tabloid pages acting as screens as rooms were set up behind them.  The dark cave was most effectively created with a couple of flashlights and the sound of dripping water.

Although the plot twists and bodies pile up in the second act, the show begins to drag with too many lengthy, minor-key laments.

Unfortunately, Tuesday’s half-full house of about 200 didn’t seem completely in tune with the show’s offbeat humor.  I suppose cult hits have to be cultivated.

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