These days, it feels like everything is being turned into a musical: films, TV shows – and the back catalogues of iconic artists.
Following on from last month’s review of Only Fools and Horses, I’ll confess again: I’m not particularly familiar with the music of Meat Loaf or his long-time collaborator Jim Steinman. Thankfully, I went with a
friend who’s a die-hard fan, so you’re getting a review from both ends of the spectrum—someone who knows every lyric by heart, and someone who only vaguely remembers the chorus of Bat Out of Hell (#…I’ll be gone when the morning comes#).
Bat Out of Hell: The Musical, written by Steinman, is loosely—very loosely—inspired by the 1977 album of the same name and takes a rock-opera approach to a post- apocalyptic spin on Peter Pan.
Set in a dystopian Manhattan (renamed Obsidian), it follows Strat, the eternally youthful leader of “The Lost,” who falls inappropriately in love with Raven, daughter of the tyrannical ruler Falco. (Apparently, Steinman had always envisioned the original album as a twisted Peter Pan, making it a natural foundation for this chaotic theatrical reimagining.)
What followed was, for me, two hours of relentless musical overload—17 bombastic rock numbers shoved into a storyline that felt barely strung together. Among the better- known tracks were I Would Do Anything for Love, It’s All Coming Back to Me Now and Paradise by the Dashboard Light.
The band was easily the highlight, positioned across the stage and performing with consistent excellence. However, if I thought We Will Rock You had a questionable plot, this one was almost non-existent. None of the important story points previously mentioned were made clear, and the songs
were awkwardly shoehorned in, often feeling out of place or far too drawn out—especially in the second act, where repetition became a real endurance test.
The original lead for Strat was replaced by an understudy the night we attended, but you honestly wouldn’t have known unless someone told you. Luke Street brought high energy, impressive control and a powerhouse tenor voice to the role. Katie Tonkinson (Raven) and Harriet Richardson-Cockerline (Sloane) also delivered some striking vocal performances. The cast, to their credit, gave it their all—full commitment from start to finish, contending with weak, unimaginative choreography.
The overall direction didn’t fare much better. Performances felt hammy and insincere, while the staging lacked any real sense of theatricality or thoughtfulness. The use of handheld microphones throughout (yes, that was intentional—despite audience confusion at the interval) was meant to evoke a rock concert feel. While I understand the concept, it ultimately created a barrier between the performers and the audience, limiting physical expression and emotional connection.
On top of that, a live cameraman roamed the stage filming scenes, which were projected onto a large screen. While it offered some unique angles, it often blocked the view of the performers and at times I was over stimulated, not knowing where to look.
Hardcore Meatloaf fans will no doubt enjoy the sheer volume of music on offer from this show, especially given the calibre of the band and the aforementioned vocalists.
Photography by Chris Davis Studio unless otherwise captioned.
Main image: Glenn Adamson as Strat and Katie Tonkinson as Raven.
