“In a cave many miles to the south lives a boy born with fangs in his mouth.”

Bat Boy: The Musical is probably the only musical in history to be written with a special license from the Weekly World News. It’s inspired by an actual story in the tabloid, about a half-boy, half-bat discovered living in a cave. In the show, Bat Boy learns to speak from his adoptive family, yearns for acceptance and tries to join society, only to face hatred and violence from a town that fears him and jealous rage from his foster father. Although full of blood, violence, incest and interspecies sex, Bat Boy won several awards and nearly unanimous rave reviews. The New York Times declared, “It’s remarkable what [this show's] intelligent wit can accomplish”, the New York Post named it an “instant classic”, and John Lahr of The New Yorker called it “a giggling cult hit” and “the only play in the history of the theatre whose hero ends Act I with a rabbit in his mouth, and who moves on in Act II to an entire cow’s head.”

Bat Boy premiered at Tim Robbins’ Actors Gang Theatre on October 31, 1997 and has since been produced Off-Broadway, in London’s West End, at the Edinburgh Festival and around the world. The musical was awarded best Off-Broadway musical by both the Lucille Lortel Award and the Outer Critics Circle Award in 2001. The book veers from manically farcical to deeply tragic, and is often both at once. It deals with very heavy themes – hypocrisy, acceptance, forgiveness, racism, revenge and scapegoating – but often punctures the most serious moments with slapstick, surrealism, or Simpsons-style irony.

The show contains unmistakable religious themes. It is full of Biblical allusions, such as the quoting of Psalm 23 and Genesis 9:4 in scene 9. Act II begins with a religious revival tent meeting led by a faith healing preacher who performs “A Joyful Noise,” a song featuring references to the Prodigal son and the lion lying down with the lamb. For the most part, religious references and scenes are used to highlight the hypocrisy and hysteria that can arise from extremism. Religious groups have objected to the show’s production by high schools.

Patrick Street Productions is thrilled to have the opportunity to bring this offbeat, daring, and deceptively funny musical to Greater Vancouver audiences. Check this site for details as our plans are finalized!

QUOTES

“Bat Boy’s Singer’s send it soaring
Vancouver Sun

“Bat Boy: The Musical brings down the house
Vancouver Observer

“Bat Boy is, quite simply, brilliant theatre.”
Burnaby Now

“It’s a freaky, hilarious, cult rock opera, somewhere between Rocky Horror Picture show, Jesus Christ Superstar, Hair and a Beastie Boys concert.  Intelligence mixed with wit, blood, social commentary, great acting and a touch of brilliant cynicism makes for marvelous theatre in this production directed by Peter Jorgensen for Patrick Street Productions.
Vancouver Observer

“Scott Perrie is a treat to listen to…. and the highlight of the night is a second-act duet (Inside Your Heart) Perrie sings to soaring heights with the equally thrilling Bree Greig as the daughter.
Vancouver Sun

“Scott Perrie’s performance as Edgar is excellent. Perrie makes Edgar as innocent and bestial as a puppy—all wide eyes, open heart, and fangs. There’s delicacy and depth in this characterization, and Perrie is a tremendous singer, always sure of his pitch and vocally strong throughout a wide range.”
Georgia Straight

“Perrie gave a compelling and convincing interpretation of Bat Boy, mesmerizing the audience with his gut-wrenching anguish as he confronts the curse of his half-human, half-bat condition.”
Vancouver Observer

“Katey Wright (Meredith) is in fine voice, as is Bree Greig (Meredith’s daughter Shelley), which makes their second-act duet, ‘Three-Bedroom House’, a pleasure.”
Georgia Straight

“Amir Ofek’s costumes are a delight.”
Georgia Straight