This review was originally written for The Reviews Hub: https://www.thereviewshub.com/bat-out-of-hell-marlowe-theatre-canterbury/

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There is rock music aplenty, but minimal ‘roll’ in this disjointed, reworked version of Bat Out Of Hell.

The production, which uses rock icon Meat Loaf’s incredible catalogue as its soundtrack, has been revamped since its initial London run, drawing on elements of its expansive arena tour to create this hybrid version of the show, with limited success. For its plot, Bat Out Of Hell lifts heavily from the Peter Pan story, though the forbidden lovers angle feels a little more Romeo and Juliet, and while the piece does its best to mash these two stories together, it finds little cohesion, unhelped by some awkwardly flimsy dialogue.

Bat Out Of Hell centres around Raven (Katie Tonkinson), newly 18 and desperate to escape the stifling parenting of her dictator-esque father Falco (Joshua Dever), who oversees a dystopic version of Manhattan. Falco’s attempts to keep ‘The Lost’, a group of teenagers frozen in youth, under his control lead to more and more violent disturbances, which he aggressively cracks down but in doing so, encourages his tearaway daughter into the arms of ‘The Lost’s’ leader, Strat (Glen Adamson), where their romance begins. It is a flimsy plotline, simple enough to work but shallow enough to feel unbelievable too. The romance between Strat and Raven lacks passion, unhelped by some clumsy dialogue that feels too forced, and inexplicable moments that burst into rhyme. It is a show that desperately escapes its talking moments for the exceptional music, and one that is certainly saved by Meat Loaf’s hit after hit catalogue.

Unfortunately, the decision to blend some of the show’s original concepts with its new arena tour configuration has left the production in a bit of a mess. The cast now hold handheld microphones throughout the show, which, while they do evoke images of rock and roll concerts, are obvious in getting in the way, and do damage some of the production’s more tender moments, such as the rekindling of Falco’s marriage with frustrated wife Sloane (Beth Woodcock). In addition, the decision to use a live camera feed to project live images of the stage onto two large screens feels completely unnecessary given the theatre’s proximity to the stage, and is more intrusive than subtle in its execution. As a result, the production carries too much of an ‘arena feel’ that misses the mark here. The set, reduced to some rubble, a large tunnel opening and a couple of ladders and discarded mattresses, does little to enhance the performance, while the decision to leave some of the tech boxes scattered across the stage makes it feel as if we are watching a show that had not finished setting up.

Nevertheless, the production does find its feet during the show’s numerous musical numbers, exceptionally performed by the leading quartet but also by a superb ensemble cast. The production does more than justice to Meat Loaf’s work, creating a loud and bold sound that captures the essence of the music icon’s creations. Adamson, in particular, as Strat is strong in reaching some of the songs’  trickier notes, and oozes charisma as he struts the stage. Despite the show’s flaws, it excels in its musicality and is a powerhouse of a rock opera, which will undoubtedly leave Meat Loaf fans happy.

It is in its performers that the quality of the show lies. Despite some of this revival’s problems, the execution of its musical numbers and the strong choreography rescue some of its blander, more disjointed moments and help to carry the show forward. It is hard not to be swept up in the revved-up excitement of ‘Bat Out Of Hell’ or ‘I’d Do Anything for Love (But I Won’t Do That)’, and the musical talent on display here is superb. The show has a strong cast, powerful musical numbers, but ultimately is let down by jarring creative choices.

Still, as Meat Loaf would say, ‘Two Out of Three Ain’t Bad’.