Katie Tonkinson & Glenn Adamson in BAT OUT OF HELL. Photo Credit: Chris Davis Studio
With powerful performances, stunning visuals, and a thrilling soundtrack, BAT OUT OF HELL is a high-energy, rock-and-roll spectacle.
The show that launched with the tagline “Manchester gets it first” is back in the city. BAT OUT OF HELL, which first premiered at the Opera House in 2017, heads to Manchester’s Palace Theatre this week as part of a new UK tour.
Set in a dystopian, post-apocalyptic future, BAT OUT OF HELL follows a father struggling to keep his daughter from joining a group of rebellious, forever-young mutants who live in the tunnels. As in all love stories, the younger generation fights against the older one to be together, in a leather-clad, rock-and-roll take on ROMEO AND JULIET that has disastrous consequences.
Directed by Jay Scheib, BAT OUT OF HELL explores themes of love and jealousy, featuring 17 of Meat Loaf’s greatest hits, including I’D DO ANYTHING FOR LOVE, PARADISE BY THE DASHBOARD LIGHT, YOU TOOK THE WORDS RIGHT OUT OF MY MOUTH (HOT SUMMER NIGHT), DEAD RINGER FOR LOVE, TWO OUT OF THREE AIN’T BAD, BAT OUT OF HELL and two original Jim Steinman songs written especially for the show. Given Meat Loaf’s theatrical background where his career began in the musical HAIR in 1968, his music naturally lends itself to the stage.
Sharon Sexton & Rob Fowler in BAT OUT OF HELL. Photo Credit: Chris Davis Studio
Sharon Sexton and Rob Fowler reprise their roles from 2017 as Sloane and Falco, the parents. Fowler was nominated for a WOS Award for Best Supporting Actor in his original portrayal of Falco. Glenn Adamson also returns as Strat, delivering an electrifying performance in which he gives his all to every song, particularly in BAT OUT OF HELL. A standout moment comes in ITS ALL COMING BACK TO ME NOW, with a powerful parallel scene featuring both the young lovers and their parents singing simultaneously.
Sexton and Fowler shine as a duo, with their long-standing chemistry making their performances feel effortless. Their rendition of WHAT PART OF MY BODY HURT THE MOST is one of the show’s defining moments. Meanwhile, Ryan Carter as Jagwire and Georgia Bradshaw as Zahara deliver beautifully sung duets, with Carter also taking on solo moments in OBJECTS IN THE REARVIEW MIRROR, DEAD RINGER FOR LOVE and ALL REVVED UP.
Compared to previous productions, this version features more confetti cannons and a slightly renewed stage design, with the band onstage rather than in the orchestra pit, creating the feel of a rock concert.
One minor distraction is the use of handheld microphones, which sometimes limits the performers’ ability to fully express themselves physically. However, special credit must go to the sound engineers, as every microphone was flawlessly mixed throughout.
Dystopian costumes can be tricky to pull off without going full MAD MAX or relying on dirty ripped denim, but this production strikes a perfect balance. The cast’s outfits subtly mix leather and silk with flashes of red, paying homage to Meat Loaf’s signature red handkerchief and black-and-white ensemble.
Luke Street, Carly Burns, Ryan Carter & Glenn Adamson in BAT OUT OF HELL. Photo Credit: Chris Davis Studio
The multimedia element, with an onstage videographer capturing footage, adds to the performance with video shown simultaneously on the large screens. However, their presence occasionally obstructs the view of the actors and their role within the story is never fully explained, perhaps suggesting a future where everyone has a personal camera operator broadcasting their life in real time.
Jim Steinman and Meat Loaf are sure to be proud of how the show has evolved since its first outing, refining certain elements while removing others. That said, the dramatic car push off the stage into the orchestra pit is greatly missed from the original performances at the Opera House.
TWO OUT OF THREE AINT BAD, but this production deserves five stars for its energy, pace and revved up performance. It certainly doesn’t leave you with “no place to go.”
BAT OUT OF HELL runs at the Palace Theatre, Manchester, until 8 March 2025.
Vikki Rutter is a North West review writer, working in the glamorous world of TV. Lover of travel and cats, although travelling cats not so much.
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