Review: American Psycho (Almeida Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

It’s the final season at the Almeida Theatre for outgoing Artistic Director Rupert Goold. In the more than 12 years he has been at the helm, he has seen the small-but-mighty Islington theatre go from strength to strength, enjoying no shortage of acclaimed productions, many of which have transferred to the West End and Broadway. It feels fitting then that his final season sees him revisiting the show that began it all, as American Psycho returns to the space it haunted back in 2013. Though the show received acclaim on its initial run, much has changed in the world, not all for the better, which begs the question: how would the tale of Patrick Bateman fare in 2026, and would this show still have a killer edge?

Based on the 1991 novel by Bret Easton Ellis, American Psycho is perhaps best known for the 2000 movie starring Christian Bale. The musical adaptation premiered in 2013, heading to Broadway in 2016 and returning for several International productions in the years since, though this production marks the first time it has returned to London. It tells the story of Patrick Bateman, a young investment banker who seemingly has it all - looks, money, style and status. Nothing ever seems enough for him, though, and his attempts to fit in make him resort to drastic measures. As people around him begin to disappear, will Bateman stop at nothing to get what he wants, and will he ever get caught?

One of the things that makes Almeida Theatre one of my favourites in London is how versatile the space is. The lack of a proscenium essentially demolishes the barrier between stage and audience, allowing for more intimacy and ultimately connection. Apart from the iconic brick wall that is visible in most productions, you never quite know what set up you are going to get - whether that meant entering through a different door for their last production, Christmas Day, or entire new blocks of seats popping up bespoke to that production, there is a wave of excitement whenever you walk through their doors, eager to experience their own unique brand of magic. A lot of that is chief to Rupert Goold, and American Psycho embodies the Almeida at their very best, with a large catwalk taking a large chunk of the intimate space and audience members surrounding it on three sides. This makes for a production perhaps even more intimate than others at Almeida, amplifying the intensity and often disturbing nature of the show.

If you are looking for a fairly conventional and essentially harmless musical, American Psycho probably isn’t the one for you. There is nothing conventional about the way it tells the story, with elements that are deliberately designed to be jarring. This is largely down to Rupert Goold’s direction, which can only be described as bold. Having not seen the production before (or the movie, for that matter), I went into American Psycho fairly blind to the story, meaning certain moments lingered on my mind long after I left the theatre. I see that as a good thing, however. It would be wrong to spoil the climax of the show, but I left wondering what certain parts of the story meant and why certain choices were made the way they were. It is very much open to interpretation, with two people taking completely different things out of the story, and neither being wrong - such is the beauty of theatre. As reality and fantasy blur, certain seemingly throwaway moments, such as a character being called the wrong name or denying something happened with another character, prove thought–provoking in a production that is often daring but certainly never boring.

Adapted for the stage by Roberto Aguirre-Sacasa, American Psycho in 2026 certainly hits differently than I can only imagine it would have in 2013. That is down to how the world has changed - most notably, there is Patrick Bateman’s obsession with a young(ish) Donald Trump. Set in the 1980s, Trump himself appeared as a humorous caricature, with an impeccable impersonation nailed by Oli Higginson. However, in the years since American Psycho was written and this musical premiered, Trump has been President twice, and not a day goes by that the latest horrors and repercussions from his time in office are not making worldwide news. If anything, this makes the themes of American Psycho that much more disturbing. If it may have felt slightly dystopian initially, it feels far closer to reality now.

Both the writing and direction are what make this production so astounding. Characters are dehumanised,  signifying both Bateman’s struggle for connection and the growing distance at which the world is evolving. The aesthetic of the show beautifully addresses this with a rather unique aesthetic mixing the 1980s of the setting with a futuristic feel, giving a sense of timelessness to the story, and intensifying the necessary confusion for the story. There is also a wonderful juxtaposition in the musical, with a seemingly mundane conversation about water interspersed with much more dramatic moments, while an exceptionally creative end to Act One is especially impactful. Lynne Page’s choreography proves equally impressive, with the ensemble cast utilised to incredible effect throughout - the result proves consistently jaw-dropping. Creative, distinct and intricate, the versatility of numbers makes both the writing and direction come to life, making this a visually thrilling production.

Speaking of the visuals, the staging here is like nothing I have ever seen at the Almeida before. Es Devlin’s set design is a thing of beauty, with the stage constantly transformed through some phenomenal video design by Finn Ross. Jon Clark’s lighting design is pulsing and even blinding at times, sometimes to an uncomfortable degree, but all of these elements crucially add to the feel of the show. This is not a musical to feel comfortable at. The nature of the story attempts to make you feel disturbed, in the best possible way.

This is where I have a sole issue with American Psycho - and that is the use of music. Original songs from Spring Awakening writer Duncan Sheik are mixed with a sprinkling of 1980s classics to create a semi-jukebox musical, with New Order’s ‘True Faith’ and Huey Lewis and the News’ ‘Hip to Be Square’ among the numbers that seemingly come out of nowhere. A mix of styles and an electronic feel, drawing heavily from the synth pop sound of the 80s. The problem is, I’m not sure if I actually enjoyed this element. Though there were several decent moments, namely a gorgeous, impactful and dark take of Phil Collins ‘In The Air Tonight’, the music regularly felt jarring and even uncomfortable, though I can only assume that was the purpose. This is why I’m debating whether it is fair to knock my enjoyment of a show based on this, if that is the intent. I appreciate the artistry on show here, but ultimately I found the musical numbers far less compelling than the rest of the show. Though the numbers added another level to the nature of blurring realities, it felt like nothing would have been lost had this been a straight play instead.

After wowing audiences in The Line of Beauty last year, Arty Froushan once again dominates the Almeida stage with his leading turn as Patrick Bateman. Captivating at every turn, Froushan is an astonishing performer - one who it proves impossible to take your eyes off of. As he balances the confident, cocky nature of Bateman with the more sinister side of him, the way the character unravels is masterfully played through a patient and increasingly erratic performance. Froushan effortlessly transitions from a calm nature to a far more intense side in a matter of moments in one of the strongest leading performances I have seen in a long while, and one that should see him receive award nominations for his role.

Though American Psycho is essentially the Patrick Bateman show, the cast is stacked with incredible performers who all get moments to shine, no matter how relatively small their roles are. Daniel Bravo is the perfect “enemy” to Bateman in a similarly compelling turn as Paul Owen, while Zheng Xi Yong brings a different kind of intensity and a touch of comedy in a striking performance as Luis Carruthers. The aforementioned Oli Higginson puts his Trump impression aside for a strong take on Timothy Price, with Tanisha Spring another highlight as Courtney Lawrence. Emily Barber gives a wonderfully exaggerated turn as Evelyn Williams, while Anastasia Martin is an undoubted standout with her initially slow, sensitive and ultimately satisfying performance as Jean. 

American Psycho is like nothing I have ever seen before, not just in the Almeida but in any theatre. There is a uniqueness to this production stylistically that makes it very special. It’s certainly not for everyone, and certain aspects may prove a bit too much. However, I found myself completely captivated by its charms from start to finish. Though not every element landed with me, the deliberately jarring nature worked in its favour, leading to a watch that proved uncomfortable and disturbing but in the best possible way. The real test of any show is how long it stays with me afterwards - writing this review two days after seeing the show, I can safely say it has rarely left my mind, and I have regularly found myself making more connections over elements of the dialogue and direction choices.

Rupert Goold’s tenure as Artistic Director at the Almeida Theatre has been nothing short of spectacular, and American Psycho is the perfect example of his strengths. Dangerous, exciting and never boring, his mark on this very special space will still be felt long after he has moved on to pastures new (the Almeida’s loss is the Old Vic’s gain). One of the more memorable shows I have seen in quite some time, American Psycho is a reminder of why I love theatre as much as I do. Its ability to surprise, the extreme way it can make you feel (I would rather feel uncomfortable than nothing at all) and the inevitable way a production like this will divide critics and audience members make this a show I can’t recommend enough, even if I can’t guarantee you will love it quite as much as I did. For all these elements, American Psycho is a cut above the rest. The result is a killer show you’d be crazy to miss.

American Psycho plays at Almeida Theatre until 14th March, with the last tickets available at https://almeida.co.uk/whats-on/american-psycho-2026/

Photos by Marc Brenner