On Wednesday 26 February, at the heart of a teeming Oxford Road, groups of people gathered round the Palace Theatre. Some were dressed in red three-piece suits covered in little cartoon meatloaves, while others looked more likely to attend a church service.
The crowd was queueing for what was about to be, in my mother’s words, one of the best nights of their lives.
What could possibly bring all these people together? You might ask. The answer is Bat Out Of Hell: A dystopian, Meat Loaf, and Peter-Pan inspired powerhouse rock musical originating entirely from the brain of Jim Steinman. To start off the show, a mob of rumbling motorbikes revved down Oxford Road and past the red carpet, setting the tone for how this rock spectacular would commence.
Described by Paul Downham in the 2017 premiere as having “Literally changed the way musicals are staged forever”, it’s not an overstatement to say that Bat Out Of Hell is a striking production.
Set in post-apocalyptic Manhattan (Obsidian), the musical follows the love story between Strat- a frozen-in-age 17-year-old leader of the ‘Lost’- and Raven, the daughter of Obsidian’s tyrannical ruler. Simultaneously, we observe the relationship between her parents, whose choreographed steamy scenes are some of the most memorable.
The sprawled multi-level staging is spectacular, showcasing the eight-piece, elevated live band. The dynamic potential of the space is further exhibited by a videographer projecting live close-up shots onto a large screen, adding a whole other dimension to the show. Thanks to this, scenes in the bedroom were given a music video-esque format that created intimacy and untouchable nonchalance in equal measure.
When I spoke to celebrated Executive Producer Julian Stoneman post-show, he divulged that Steinmann envisioned a set boasting a flying motorbike and bats in the original scripts – outrageous details that were sacrificed for the tour production. Stonemen noted that “When you have a cast as a-list as this… it doesn’t happen very often”, so adjustments were made “To play homage to the music”.
While it would’ve been highly amusing to see the motorbike bob up and down, the show benefited from a slightly (and I do mean slightly) more stripped-down approach. It was uniquely enhanced by the use of hand-held microphones, seamlessly welded into the choreography. Working to emphasize impressively belting vocals like those of Sharon Sexton (playing Raven’s mother, Sloane) this detail alone elevates Steinnman’s heart-pounding vision.
As one of the most experienced and well-respected Executive and General Managers in the live entertainment game, from Mamma Mia! to Grease and A Christmas Carol, Stoneman knows what he’s doing.
This was proven when he remarked, “Let’s not forget we started here in Manchester – and Manchester has got a big heart. We’ve played loads of shows here but I have to say every time we show the show in Manchester, which now would be the third time… everyone leaves on a high”. Manchester was indeed the first city lit up by the show in 2018 – and there doesn’t seem to be an end in sight, with an undeniably electric crowd and a devoted following.
There were constant enthusiastic rock n’ roll whoops throughout the performance right the way through to the fevered standing ovation. “I wouldn’t miss the Manchester show for the world”, Stoneman declared, his face showing a genuine sense of pride in the city’s significance for the show.
The first year of the show’s kick off also involved a shutdown of Trafalgar Square with lorries, and Meatloaf having “Rocked the place out”, it was the first time a show had ever closed down St. Martin’s Lane. They similarly managed to block off the longest road in the world (Yonge Street in Toronto), a performance which Stoneman says inspired the “Edgy, slightly rough” timeless feel of the set; its lack of timeframe evoking a dystopian, everchanging feel.
In every country – whether Germany, the US, or Australia, to name a few – the show attracts a fan base. One that effectively dictates the show’s development. According to Stoneman, their encouragement of feedback is the speciality behind the show’s constant evolution:
“We listen to the fans, because if you don’t listen to the public, and don’t listen to the fans, you wouldn’t have a show”. And there most certainly is a committed fanbase; prior to chatting with Stoneman, I overheard two fans discussing their commitment to following the show worldwide.
Frankly, I went into the show as a Tenacious D supporter and to hear a rendition of Celine Dion’s ‘It’s all coming back to me now’. Turns out, it’s much more than that. Bat Out Of Hell converted me into a Meathead, and it will convert you too. If you’re a student who hasn’t considered a visit to the Palace Theatre to watch this jaw dropping extravaganza, think again.
Bat out of Hell runs until Saturday 8 March at the Palace Theatre.
