OPEN FIST’S BAT BOY SINKS ITS TEETH IN —
AND DOESN’T LET GO
Bat Boy: The Musical has returned to Los Angeles with a vengeance. This outrageous comedy/horror Off-Broadway musical, which originated right here in L.A. at The Actors Gang in 1997, is a campy, off the wall delight. And in the claws, er, hands of director Pat Towne and Open Fist Theatre Company, it’s is a bravura piece of remarkable foolery. You won’t just be floating out of the house, you’ll be flying.
Ben Raanan
Keythe Farley and Brian Flemming‘s inventive book is based on an item in the rag sheet Weekly World News which said that a half boy/half bat creature had been discovered in a cave near Hope Falls, West Virginia. The fast paced musical is jam-packed with great songs, palpitating rhythms and campy dialogue. The upbeat score from Laurence O’Keefe (who later composed Heathers and Legally Blonde) includes pop, rock, tango, gospel, country and even rap.
Amir Levi, Carmella Jenkins, Beth Robbins, Michael Lanahan and Grace Soens
Three teenaged cave explorers discover a Bat Boy (the indefatigable, flexible Ben Raanan) who looks like something out of Nosferatu. The good ol’ boy Sheriff Reynolds (Michael Lanahan), unsure of what to do with the dangerous captive, decides to bring the boy to the home of Dr. Thomas Parker (Scott Mosensen), the town vet. The vet’s wife Meredith (Robyn Roth) immediately has a maternal affection for the unfortunate boy and saves him from annihilation (and names him Edgar). The young daughter Shelley (Bethany Koulias) also takes a strong liking to the boy, and romance blooms in the hearts of these young teenagers. The second act shows the cruelty of life, since the townspeople—believing he is connected to a strange illness that is killing the local cows—clamor for the boy’s destruction.
Bethany Koulias, Ethan Remez-Cott, Ben Raanan
Bat Boy mercilessly ribs the conventions of musical theater, and you can see parodies of very popular musicals like My Fair Lady. In a brilliant scene, the mother teaches the lad to act like a proper Englishman. The song “Show You a Thing or Two” is a wonderful takeoff of “The Rain in Spain.” The bat boy goes from guttural sounds to a proper upmarket English accent, compliments of BBC tapes.
Robyn Roth, Ben Raanan, Bethany Koulias and Scott Mosensen
The point is Bat Boy: The Musical refreshingly steps out of the norm, an unfamiliar story to many, but one with a following similar to Rocky Horror Picture Show, due to its comparable style and niche genre. And if you’ve never seen it before, get ready to turn around and get a ticket for another performance at Atwater Theatre. It’s that good.
The Ensemble
Brad Bentz‘s rickety-looking two-tiered set looks like it would be in front of an abandoned coal mine. It’s a perfect canvas for the extraordinary lighting by the great Brandon Baruch, whose range knows no bounds–from backlighting to eerie hues, his design does more than elucidate the mood, it’s a character all its own, especially in the inventive opening in a cave. Michael Mullen‘s costumes not only suited characters perfectly, but they actually look like they’ve been worn time and again by the poor West Virginians. Sound designer Christopher Moscatiello and mixer Alex Hix absolutely get it right, with everything from low rumblings to the cries of bats. And how refreshing to not have actors wearing face mics; no, the magic is done here with old-fashioned projection and enunciation. Even the 4-piece band upstage didn’t drown them out (Music Director Sean Paxton, keys; Mike Flick, bass; Jim Miller, drums; Kevin Tiernan, guitar).
Ben Raanan and Ensemble
Above all—aside from Jennifer Maples‘ super-fun choreography and Towne’s impeccable casting and clever use of the wide stage—is the quartet at the center of a show which surprises at every turn. The remarkable Raanan offers not only a range of emotions and a beautiful strong voice as Bat Boy, but navigates the physically demanding role with seeming ease, hanging upside-down from the rafters while singing! He makes Edgar’s tragedy deeply felt, despite the show’s campy absurdity. As Shelley, Koulias’s transformation from bratty small-town teen to someone willing to fight for Edgar’s humanity is one of the show’s most rewarding character arcs.
Grace Soens, Bethany Koulias, Amir Levi, Ben Raanan and Ensemble
As the vet, Mosensen leans into his gradual unraveling, keeping Dr. Parker suave and sinister without going overboard into maniacal manifestations. Meredith is the emotional heart of the show, offering Edgar warmth and maternal care in contrast to her husband’s cruelty, and Roth displays both gravitas and wit—her journey from seemingly demure housewife to steely protector (and ultimately, a woman with secrets of her own) is right on. For an early number, “A Home for You,” she is tender and moving, with vocal warmth and control. We feel the weight of her choices, even as the plot veers into dark, over-the-top territory.
Bethany Koulias, Ben Raanan, Robyn Roth
If you think Bat Boy is just some goofy cult musical about a pointy-eared mutant running amok, think again—Open Fist Theatre’s production is a gloriously unhinged rollercoaster of camp, chaos, and surprisingly heartfelt humanity. With powerhouse performances, blood-soaked hilarity, and a script that walks the fine line between satire and sincerity (then gleefully somersaults over it), this production is a howling good time. Whether you come for the mutant melodrama, the twisted family secrets, or just the sheer joy of watching actors commit fully to absolute lunacy, Bat Boy is a freaky, funny, and ferociously entertaining must-see. Run, don’t walk—because if you hesitate, Dr. Parker might get to you first.
Chima Rok and Ensemble
photos by John Dlugolecki
The EnsembleBat Boy: The Musical
Open Fist Theatre Company
Atwater Village Theatre, 3269 Casitas Ave. in Atwater Village
Fri & Sat at 8; Sun at 7; Mon at 7:30 (dark March 20, 21)
ends on April 6, 2025
for tickets ($26–$45), call 323.882.6912 or visit Open Fist
Amir Levi and Ensemble
