SALT LAKE CITY — If my quick search of the UTBA archives is correct, the last time Utah audiences had the chance to see Bat Boy: The Musical was more than ten years ago. As a community with a deep love of theatre but also a penchant for revisiting favorites from the more distant past, it is exciting to have places like Salt Lake Acting Company (SLAC) to experience lesser-known works. It is even more exciting when those works are crafted to such a high standard and at such close proximity.
A Campy, Gothic Delight
Loosely inspired by a 1992 Weekly World News headline about a half-human/half-bat boy (dubbed “Bat Boy”) supposedly found in a cave, the musical (book by Keythe Farley and Brian Flemming with music and lyrics by Laurence O’Keefe) is a campy romp that feels descended from the Rocky Horror and Little Shop family tree. Found by a trio of cave spelunkers in the town of Hope Falls, Bat Boy (Julian R. Decker) is captured and taken to the local vet (Robert Scott Smith) for safe keeping while the town decides what to do. The vet’s wife, Meredith (Adrien Swenson), and daughter, Shelley (Jackie Marshall), take a liking to Bat Boy. Meredith renames him Edgar and strives to domesticate him with reading and exposure to Masterpiece Theatre, which – amusingly – leads to Edgar developing a posh British accent. Trouble arises as the town, already struggling with issues related to local cattle, holds a revival that Edgar wishes to attend. He has read the Bible many times, after all. Everyone must confront the presence of someone different who, though refined, survives on blood.
While the show touches on serious themes, it is presented in such a comedic way that nothing stays serious for long. Even untimely deaths are eventually played for laughs. The heart of this show rests in dark, absurdist comedy. Bat Boy is made for small, fringe theatre spaces full of enthusiastic audiences that feel welcomed like family, and SLAC’s production is highly attuned to that experience.
Bat Boy plays at SLAC through May 4. | Photos: Todd Collins Photography
Performance
Director Eric Sciotto‘s casting is excellent. Bat Boy/Edgar is an enormously demanding role both vocally and physically, and Decker is more than up to the task. His transition from non-verbal, feral creature to dignified gentleman is effective and affecting. His performance is especially impressive given the prosthetic fangs he wears throughout. There were occasional difficulties in understanding his speech (possibly due to mic issues in the first act), but overall, his portrayal is marvelous and worth the price of admission alone.
The Parker family story is a challenging one to portray, particularly because character motivations often shift rapidly, but Swenson, Smith, and Marshall navigate these shifts well and deliver enthusiastic performances. Swenson is particularly lovely as Meredith. Her comedic timing and sincerity blend beautifully, with moments of laughter followed closely by heartfelt sympathy—particularly in “Three Bedroom House,” one of the evening’s standout musical numbers.
The ensemble covers the remainder of the town, often taking on three or more roles apiece. Costume changes happen rapidly and sometimes on stage, much to the delight of the audience. Each character is distinct, and it was a joy to realize mid-scene that a familiar actor had taken on yet another hilarious role.
Photo: Todd Collins Photography
Design
The set, lighting, props, and costumes work in seamless harmony. Jo Winiarski‘s bat cave set is enhanced by Jesse Portillo‘s stunning lighting. Costume designers Sofia Paredes-Kendrick and Elizabeth Webb Kennington evoke a celebratory 1990s aesthetic. The blacklight effect highlighting Bat Boy’s lime green hair was memorable, as was the hilariously whimsical bacchanalia of forest animals during “Children, Children.” Eric Sciotto’s choreography, with Assistant Choreographer Jordan Cruz, is energetic and full of pop culture nods, with a highlight being a clever reference to The Sound of Music‘s ländler.
Conclusion
Bat Boy: The Musical is not for everyone, but it absolutely knows and embraces its audience. It is a fast-paced gothic romp created with immense heart and a deep love of theatre. About halfway through Act One, I realized: it had been a long time since I laughed that much—not just during a show, but in general. In a world brimming with stress and seriousness, this production offers a delightful reprieve.
These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.
