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The dystopian world of Bat out of Hell. Pictures: Chris Davis Studio Bat Out of Hell – The Musical Wolverhampton Grand **** From the very first guttural guitar riff to the final heart-pounding note, Bat Out of Hell the Musical bursts onto the stage in a blaze of glory, paying a high-octane tribute to the bombastic music of Meat Loaf and composer Jim Steinman. It is a spectacle that does not just demand your attention but grabs you by the collar and belts in your face. Set in a dystopian future where time has literally frozen a group of rebellious teens, the story centres around Strat (the electrifying Glenn Adamson), leader of The Lost, and his Romeo-and-Juliet-style romance with Raven (a luminous Katie Tonkinson), the sheltered daughter of the tyrannical Falco (Rob Fowler). The plot while gloriously camp and often convoluted—takes a backseat to the fever dream that is the show’s real draw: the music. And what music it is. As a teen, I recall long drives with my father playing songs like Paradise by the Dashboard Light and the title track Bat Out of Hell.
Katie Tonkinson as Raven and Glenn Adamson as Strat Steinman's songs, known for their grand style, emotional themes, and theatrical elements, are presented anew on stage. The live band punches every note with arena rock force, and the cast tackle each number with vocal prowess and a fearless commitment to the drama. The set is a character in its own right, an industrial, post-apocalyptic playground filled with rusted steel. Towering scaffolding allows for dynamic staging, and video projections offer a modern, voyeuristic twist, capturing live close-ups and transforming bedroom scenes into televised drama. It is gritty, grungy, and gloriously theatrical—perfectly mirroring the chaos and emotion of the music. One of the evening’s most unforgettable moments comes at the climax of Act 1, when Glenn Adamson delivers the show’s thunderous title track, Bat Out of Hell. Drenched in emotion and blood, Strat commands the stage on a motorcycle before launching into a heart-stopping performance that highlights both Adamson’s vocal ferocity and his raw physical commitment to the role. With smoke, fire, and heartbreak swirling in equal measure, it is a jaw-dropping crescendo that leaves the audience breathless and itching for Act 2. Part rock concert, part gothic romance, and part post-apocalyptic punk opera, this production leans into its absurdity with unapologetic flair. Directed by Jay Scheib, live scene projections and pyrotechnics enhance the show. The effect can sometimes feel chaotic, even overwhelming, but it’s all in service of the show’s core message: love, rebellion, and music can still matter in a broken world. Bat Out of Hell is not subtle, but if you embrace its bold energy, you get a show as wild as its music. It entertains with undeniable force. An explosive tribute to Meat Loaf that rocks as hard as it loves until 19th July. Dexter Whitehead 14-07-25 |
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