American Psycho the Musical

The source material for this musical is eloquently described by the director Alexander Berlage as “a post modern masterpiece, a shockingly graphic, provocative and damning critique of toxic masculinity, yuppie capitalism and solipsistic alienation”.   

The novel is still kept in plastic wrapping in parts of the world, such is the R-rated nature of its content. In this production, it was the stage that was wrapped in plastic, as the serial killer Patrick Bateman - kitted out in a raincoat - got to work on a victim. 

Sitting in the Hayes Theatre – next to Nancye Hayes - I almost felt the urge to cover her eyes. However, Nancye advised me that having appeared in Sweeney Todd, she had quite a strong constitution. 

Jokes aside, this is a beautiful and terrifyingly good production of a musical with some stomach churning content. A glitzy mirrored revolving stage (designed by Isabel Hudson) sets a cracking pace for the cast. Helped by sharp light and choreography the drama moved swiftly from offices, to night clubs, to homes and New York streetscapes.

Round and round and round some more it goes with the cast adroitly weaving in around each other and doorways (apparently it is only the second time the Hayes Theatre has used a revolve so they are making sure they are getting their monies worth out of it). 

The male characters, clearly all hot and bothered from the brisk pace, needed to frequently take their shirts off - exposing well ripped chests. They upstaged the females in their glamorous chic attire.

The music is described by the Musical Director Andrew Worboys as an interesting beast. It is a combination of classic cover tunes from the era, with a heady mixture of house and electric music grooves. It lacked a knock out solo which gave you an insight into the mind of the central character but the programmed score kept the narrative moving.

Leading man Benjamin Gerrard makes you want to keep the lights on at night. A member of the audience who had the experience of having him stare straight at her at close proximity, was completely spooked.

Other stand outs were Blake Appelqvist – as Patrick’s rival Paul Owen, and Erin Clare - as Courtney Lawrence, who brought the house down with her routine deflating a blow up doll.

You leave the theatre feeling a little dizzy and dazzled.

David Spicer

Photographer: Clare Hawley