Bat Out of Hell | Peacock Theatre

Bat Out Of Hell, which is directed by Jay Scheib with book, music and lyrics by Jim Steinman, is a musical adaptation of music artist Meatloaf’s album of the same name, inspired by the stories of Peter Pan and Neverland. The musical incorporates this, creating a futuristic and dystopian landscape that modernises the beloved story. The musical takes on a hard-hitting and edgier approach to this story, whilst incorporating a Romeo and Juliet love story as the sub-plot, making for a strong premise. However, against all odds, the musical never quite reaches its potential, despite a strong cast and soundtrack, resulting in a misfire of a musical.

The script unfortunately lets the musical down, with a book that leaves audiences scrambling to put the missing pieces together. Used solely to link the musical’s impressive catalogue of songs together, the book opts not to provide depth or personality to any of the characters, choosing instead to use them as plot points, resulting in a story that audiences feel alienated from. The leads, Strat and Raven, both supposedly passionate and rebellious, feel almost diluted as characters, which makes the book appear weaker than it actually is.

The world building itself, is fascinating, with a massive freak gas explosion immortalising a group of “Lost” teenagers at eighteen years old forever. In a now run-down unspecified city run by Falco (Raven’s father), The Lost are in constant war with the authorities as they fight for their right to remain in the city. Tensions run high with stakes that are literally life or death, yet neither side seem to want to act, choosing to remain passive. Raven, a seventeen-year-old, is drawn to Strat and The Lost, despite her father’s objections, resulting in a forbidden and dangerous romance.

Despite flaws with the book, which are frustratingly obvious throughout, the musical redeems itself with the soundtrack and the talented cast. Whilst some of the songs are not earnt within the scope of the script, it’s nevertheless a fun and energetic moment when they start. The songs, amusingly and wisely, tend to be longer than the average musical theatre song, resulting in a rocking high for the musical. Iestyn Griffiths as Musical Director leads the impressive band to play this killer score.

Bat Out Of Hell is a wonderful tribute to the music of Meatloaf, allowing for his songs to be enjoyed in a unique and creative way like never before. Fan favourites such It’s All Coming Back to Me Now, Dead Ringer for Love, I’d Do Anything for Love, But I Won’t Do That and Bat Out Of Hell are included, providing a truly glorious soundtrack. Placed into a script, with characters who are living the lyrics puts a new spin on them, allowing for these songs to reach a new emotional vulnerability.

The cast do a brilliant job, bringing the songs and story to life with their performances. Rob Fowler and Sharon Sexton rejoin the tour after originating their roles of Falco and Sloane (Raven’s Parents). Fowler and Sexton are well-paired, neatly playing off each other with clear chemistry. Fowler brings an intense performance as the strict Falco, and Sexton’s warmth as a supportive mother makes for a charming addition. Carla Bertran as Tink is a joyful addition, adding in the much-needed mischief and naivety of youth. Katie Tonkinson delivers a strong performance as Raven, with her tortured self-torn between following her head and her heart, with impressive vocals.

Ryan Carter and Georgia Bradshaw as Jagwire and Zahara, two of the "Lost" teenagers, are dazzling in their roles. Ironically, the most compelling and dimensional characters, Carter and Bradshaw are given the show's most moving number Objects in the Rear View Mirror Are Closer Than They Appear, encapsulating the friendship and community spirit in the Lost. Both Carter and Bradshaw shine with the strongest vocals performances of the show, along with slick choreography by Xena Gusthart. 

Glenn Adamson is simply sensational as Strat, leader of the Lost. Adamson is so utterly committed to the role, it's nearly impossible to distinguish the actor from the character. Adamson holds nothing back as he pours his entirety into the role, smashing out the rock and roll score and turbulent character journey. Adamson's performance alone is well worth a watch. 

The staging of Bat Out of Hell both helps and hinders the flow of the story. Transforming into the cave-like "Deep End" residence of the "Lost", the references to underground subways and gritty rocks makes the set instantly captivating. The set is designed by Jon Bausor, who manages to recreate the dystopian landscape on stage. Similarly costumes, also designed by Bausor, are both punk and worn, giving The Lost a rather distinctive appearance. The band are perched on the set in a corner, and Raven’s bedroom, a contrasting bright and modern space, in the other corner. Two large screens form the backdrop of the play, often depicting the location of each scene. 

However, these screens are also controlled by an onstage videographer (Vinn Ross) who follows Raven with a handheld camera, documenting her. Whilst this can be intriguing, it soon becomes tiresome when the actors perform directly into the camera, ignoring the audience. The livestream also takes on a rather voyeuristic approach, with close ups during more intimate scenes.

The lighting and sound design by Rob Casey and Matt Peploe are done well. Casey's dusky effect helps set the scene of the stage, whilst also making great use of the theatre, turning the show's musical numbers into a spectacle fitting for a concert. The performers are handed microphones to sing into as opposed to a fitted mic, which Peploe navigates well, ensuring a technically sound show. 

Bat Out Of Hell, whilst isn't without its flaws, is still an enjoyable evening theatre experience, especially for fans of Meatloaf.

Bat Out Of Hell is currently at the Peacock Theatre until 4th June 2025.

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★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Chris Davis Studio