If you love your musicals campy, culty, and bleeding with satire, Bat Boy is your kind of monster. Returning to New York in a semi-staged revival at New York City Center, this off-Broadway darling from 2001 finds itself resurrected under the direction of Alex Timbers, with some thrilling new elements — and a few unfortunate trims.
Written by Keythe Farley and Brian Flemming, with music and lyrics by Laurence O’Keefe (pre Legally Blonde and Heathers), Bat Boy spins an absurdist tale from a supermarket tabloid headline about a half-bat, half-human creature discovered in a cave in West Virginia. But what begins as parody soon dives into themes of acceptance, monstrosity, and what it means to belong — all wrapped in B-movie gore, Greek myth, and high belting.
Christopher Sieber, Taylor Trensch, photo by Joan Marcus
At the heart of this batty story is Taylor Trensch, who brings the title character Edgar to life with elastic physicality, pointy ears, a bald cap, killer vocals and astonishing charm. Captured by the townsfolk of Hope Falls, Edgar is taken in by the family of the local veterinarian — Dr. Parker (a perfectly unhinged Christopher Sieber, on break from Death Becomes Her), his warm-hearted wife Meredith (a scene-stealing Kerry Butler), and their curious daughter Shelley (Gabi Carrubba). As they teach Edgar how to speak, act, and “fit in,” he transforms from feral cave-dweller to posh British gentleman, evoking Wuthering Heights in the middle of rural Appalachia.
Taylor Trensch, photo by Joan Marcus
Of course, Hope Falls isn’t ready for a bat in boy’s clothing — and neither is Dr. Parker, whose unraveling becomes the show’s darkest twist.
Taylor Trensch, Alex Newell, Gabi Carrubba photo by Joan Marcus
Alex Newell, as Pan, the Greek god of nature, nearly brings the house down with their showstopping vocals and unapologetic sensuality.
And yet, while Timbers injects fresh blood into the story, he also cuts some of its best veins. Numbers from ensemble favorites like Marissa Jaret Winokur, Mary Faber, and Tom McGowan are trimmed or gone entirely. Even Alan H. Green, Rema Webb, Andrew Durand, Evan Harrington, and Jacob Ming-Trent (a fabulous Reverend Hightower) are relegated to fleeting moments. The tight cast does what they can, but it’s hard not to mourn what’s missing as it gave each of these characters meaning.
Tom McGowan, Marissa Jaret Winokur, Marissa Rosen, Alan H Green, Jacob Ming-Trent photo by Joan Marcus
The set by David Korins is a dizzying, multi-level playground that leans into chaos, giving the show its manic, off-kilter energy. Jennifer Moeller’s costumes strike the perfect note between backwoods oddity and theatrical flair, while Justin Townsend’s lighting embraces its B-movie roots with dramatic shifts and eerie glow. There is also a scene-stealing cow puppet by Ray Wetmore and JR Goodman — absurd, hilarious, and weirdly unforgettable.
Taylor Trensch photo by Joan Marcus
Musically, the show gets a boost from a 12-piece band (up from the original five), with orchestrations by O’Keefe and Ben Green. Unfortunately, Nevin Steinberg’s sound design felt off at times — lyrics were occasionally lost.
Kerry Butler photo by Joan Marcus
So what’s next for Bat Boy? While this revival clearly wants to spread its wings, it doesn’t yet feel Main Stem-ready. But a home at New World Stages, the Little Shubert, or even the Westside Theatre would suit this beast perfectly.
Like Little Shop of Horrors, Reefer Madness, Ruthlessand Heathers, Bat Boy thrives when it doesn’t take itself too seriously — but still sinks its fangs into something real. This production does just enough of both to earn its cult cred… even if it flies a little lopsided.
Bat Boy: City Center Encore Series, 131 W 55th St plays 10/31: 7:30 pm; 11/1: 2 & 7:30pm and 11/2: at 2 & 7pm; 11/4 – 9: Tue – Fri 7:30pm; Sat 2 & 7:30pm and Sun 2pm
Looking forward to Quadrophenia: Nov 14 – 16 and the rest of their season With High Spirits, The Wild Party and The Cage in 2026
