![](https://www.sardinesmagazine.co.uk/wp-content/uploads/2022/01/Glenn-Adamson-as-Strat-Martha-Kirby-as-Raven-and-the-cast-of-Bat-Out-Of-Hell-in-BAT-OUT-OF-HELL-THE-MUSICAL.-Photo-Credit-Chris-Davis-Studio.jpg)
Show: Bat Out of Hell
Society: New Wimbledon Theatre (professional)
Venue: New Wimbledon Theatre. 93 The Broadway, Wimbledon, London SW19 1QG
Credits: Book, music and lyrics by Jim Steinman. Featuring the hits of Meat Loaf.
Type: Sardines
Author: Chris Abbott
Performance Date: 18/01/2022
Bat out of Hell
Chris Abbott | 19 Jan 2022 10:58am
Glenn Adamson as Strat, Martha Kirby as Raven and the cast of Bat Out Of Hell THE-MUSICAL. Photo: Chris Davis Studio
I reviewed this show when it opened in the West End in 2018, so I was interested to see how it could be translated from the vast stage of the Dominion (one of the largest in the West End) to a touring production, even in a large venue like New Wimbledon Theatre. In the event, the show has transferred very effectively, despite quite a few changes due to the change of location but also some rethinks around numbers and the book. It’s still not exactly a work of literature however, and there was a distinct apprehension in the auditorium whenever the dialogue went on too long, replaced by elation when the next driving rock number got going.
I particularly felt for the excellent Martha Kirby as Raven, starting the show from cold with a long and fairly impenetrable monologue that was delivered with such commitment that it almost worked – as with the West End production, this is a cast that are skilled enough to surmount the script. But they are not there to talk but to deliver the great 1970s anthem that the (distinctly aging, like me) audience have come to hear.
It was good to see a buzz around Wimbledon Theatre, and a crowd outside: and well done to the theatre for checking Covid passes at the door and doing their best to get people to wear masks. The theatre didn’t seem to be totally full but it was a lot closer to that than many venues I have visited recently. When an audience of this age group comes back to the theatre (hardly a teenager or under 40 to be seen), we know that core audiences are returning. Nice touch, too, to thank them from the stage at the end for coming to live theatre.
Once again, there is a Peter Pan vibe going on here but it’s fairly well buried. The show evolved from an earlier piece, Neverland (1977), which was based more closely on the original story. Martha Kirby as Raven, is an impressive performer and recent graduate who I am sure we will see more of in the future. Her character is the Wendy figure, although definitely not motherly despite the anguished line from one of the Lost “Is she gonna be our Mom?” Opposite her as Peter Pan figure Strat (eternally 18 and forever taking his shirt off) is Glenn Adamson, never less than impressive whether singing or emoting though possibly overdoing the microphone fellatio.
The other two central characters are mogul Falco (the Hook figure) and Sloane (a long, long way from Mrs Darling). They are played by the same performers as in the original production, two actors who are totally at the top of the game (and there’s a good new hand sanitiser gag). Rob Fowler can deliver preposterous lines, sing beautifully and even look commanding in a pink posing pouch; while Sharon Sexton manages to up the campness of the evening considerably whilst also putting real heart into her performance. These two performers work together regularly and it shows; they are the heart and driving force of the production.
Around them are a series of strong performances, including a committed Zahara from Joelle Moses, a character I always feel seems to have wandered in from the Rocky Horror Show. James Chisholm works well with her as Jagwire, the two of them duetting to great effect. Performance of the night for me, as in the original, was from the actor playing Tink, a character whose links to Peter Pan are stronger than for some of the others. On this occasion, it was Killian Thomas Lefevre playing the role, and taking no hostages. It was impossible to take your eyes off him whenever he was on stage (and in one of the changes, he doesn’t die now).
The strong creative team is led by original Director Jay Scheib, in between his work as a University professor and directing Wagner at Bayreuth. The driving band is led by MD Robert Emery, and in the absence of exploding motorbikes, bats on wire, pools of water and car effects, the highly effective lighting from Patrick Woodroffe becomes even more central to the performance. The original choreography has been adapted by Xena Gusthart but still works well as a homage to the times in which the music was written. Gareth Owen’s sound design is once again exemplary.
All this well-produced and stunningly sung hokum was delivered to a delirious audience who mostly followed the request to save their own singing for their trip home – well, apart from the mother and daughter in front of me; but as their wine went down, they reduced the arm waving and interjections to the relief of some of those behind them. Cameras were well controlled by ATG staff too until the inevitable invitation to film the finale during the statutory standing ovation saw the audience on their feet and reliving their youth.
- : admin
- : 18/01/2022