top of page
Search

Review: Bat Out Of Hell: The Musical (Peacock Theatre / UK Tour)

Review by Daz Gale


⭐️⭐️⭐️


When it comes to musicals that divide people, Bat Out Of Hell seems to be the perfect example. Some swear by it while others are, let’s just say, not big fans to put it nicely. I fall into the former category, having fallen in love with the show when it first opened in the West End and going on many a return visit since. I couldn’t pass up the chance to see it again as it returned to London briefly as part of its current tour, though hearing how vastly different this latest production was did leave me wondering if I would be able to love this show as much as I always had before. What if I had to give this show a bad review? I certainly couldn't let my personal feelings cloud my judgement. I would do anything for my love of this show… but I won’t do that.



Since premiering in Manchester in 2017, Bat Out Of Hell: The Musical has enjoyed two West End runs and numerous tours both in the UK and internationally. Loosely based on the story of Peter Pan, it is set in a post-apocalyptic world where Strat the ageless leader of ‘The Lost’, falls in love with Raven. Her father, Falco, is less than thrilled with this relationship and sets out to stop their relationship in any way that he can, while having to deal with his own crumbling marriage.


It may not be the most substantial plot in the world but that has never been part of the charm of Bat Out Of Hell. This was a show that was very much style over substance - what it lacked in story, it made up for in visual spectacular. So what happens when you take all of that away and present an incredibly scaled back production? I’m sad to say it shows up the weaknesses of the musical.



Of course, it would be impossible to replicate the West End production and its huge set pieces on a touring production, as the last tour of the show had to do. However, this latest version has stripped it back even further, presenting it almost as a concert with several numbers cut from the show and a large chunk of dialogue and multiple elements of the plot nowhere to be found. The result of this is a slightly chaotic and incohesive show, feeling something a bit like Frankenstein’s Monster at times through all of its cutting and pasting, Though the plot was already paper thin to begin with, it is now verging between nonsensical and non-existent with changes to the story minimising the jeopardy and reducing some of the characters to caricatures. It is far harder to invest in the characters and the three main love stories when audiences are given so much less time with them - their breakups and makeups also move far too quickly, at times feeling like a highlights episode of ‘Love Island’.


The strangest choice in this production of Bat Out Of Hell is the inclusion of handheld microphones. Though this is supposedly more of a concert than a fully staged musical, it never quite scales back enough to present as that, and, when compared to all the one-night-only musical concerts that have appeared over the last year or so, it doesn’t quite justify the inclusion of these mics. This single choice has a huge impact on the show as it limits what the cast members can do in choreography and their acting. It also completely loses any escapism you need for this story, as watching characters pass microphones to each other constantly jolts you back to reality.



There is one aspect of Bat Out Of Hell that makes up for the shortcomings of this particular production and that is its incredible group of performers assembled to take on the show - this time around, they really have gathered one Hell of a cast. Making the most of the situation and overcoming the obstacles in their way, they deliver incredible vocals and performances throughout that more than do justice to the heavyweights originally responsible for these iconic numbers.


Leading the cast as Strat is Glenn Adamson, reprising the role he has performed in the UK, US, and Australia. Having now seen him in three different versions of this show, I have watched him grow into the role, find new ways to play with the character and get better each time. This iteration of Adamson’s Strat is undoubtedly his best yet - confident, charming, and charismatic, his performance is consistently captivating. Prowling through the stage with cat-like movement, Adamson is stunning to watch, truly coming alive with every moment he is on that stage. With a vocal range to die for, he delivered a performance as Strat as good as any I have seen before.



Katie Tonkinson gives a great take on Raven with some heavenly vocals, especially on ‘Heaven Can Wait’, rather fittingly. With perhaps more of an emphasis on the vocals than ever before in this production, the cast are consistently spellbinding in their deliveries, with Ryan Carter getting some stunning moments as Jagwire alongside Georgia Bradshaw as Zahara. Though their relationship gets the least stage time of the three couples, they light up the stage whenever they’re together, with their renditions of classics ‘Two Out Of Three Ain’t Bad’ and ‘Dead Ringer For Love’ among the most outstanding moments in this production.


Though Bat Out Of Hell has gone through a number of changes since its 2017 debut with new characters, scenes, and dialogue, ensuring the show is always evolving, one thing has remained consistent, and that is the characters of Falco and Sloane. Rob Fowler and Sharon Sexton have been with the show since its inception, and are always a highlight. Individually, they are both powerhouse performers, but together, there is a real magic to their performances. Sadly, their characters have suffered through some of the cuts in this production losing one of their numbers, but they make up for this with a storming ‘Paradise On The Dashboard Light’, the most joyous albeit batsh*t sequence in the show, and a beautiful ‘What Part Of My Body Hurts The Most’ - a number written for the show that has become synonymous with these two remarkable actors.



Of course, there is one other jewel in the crown of Bat Out Of Hell, and that is its legendary music. With the majority of songs made famous by Meat Loaf, Jim Steinman’s writing remains impeccable and exceptional. There is more of a poignancy around the show now that both these legendary figures have now sadly passed away, but the phenomenal way this cast performs these classics is a real testament to the talents of both. The show may not be perfect, but when you get to watch numbers including ‘I’d Do Anything For Love (But I Won’t Do That)’, ‘It’s All Coming Back To Me Now’ and the titular ‘Bat Out Of Hell’, it’s much easier to overlook the shortcomings of the show and just embrace the madness to enjoy it all.



Bat Out Of Hell has never set out to be the most substantial show in the world - it knows what it is and what it wants to do. Though some of the choices this time around are questionable and have lessened the impact on the show in general, the essence of it remains and is enough to ensure you leave the theatre fairly satisfied from a rocking experience, albeit slightly confused over what the Hell it is you have just seen. While it might be lacking in production value this time around, Bat Out Of Hell still boasts an incredible cast and that timeless songbook. It might not be the perfect show or even as good as its former self, but two out of three ain’t bad.



Bat Out Of Hell: The Musical plays at Peacock Theatre until 7th June. 

It then continues its UK tour until 20th September.


Photos by

bottom of page