THIS BAT COMES OUT SWINGING

Back in the nineties when tabloids ruled the world, there was one especially erroneous publication: Weekly World News. Presenting stories so outrageously false yet purported to be true, this particular rag was always good for a laugh. One such story that flew from their front page into a bemused pop culture was the discovery of Bat Boy – the half bat/half human child. With a hilariously striking cover “photo” of the horrifying yet endearingly bald creature in mid-shriek – eyes bulging, fangs baring, ears pointing – his introductory issue was the second highest seller in the paper’s history. Having firmly sunk his fangs into the nation’s collective hearts and funny bones, Bat Boy became an official part of nineties’ zeitgeist, a cultural icon of sorts. In 1997, his rueful existence was transformed into a successful Off-Broadway musical, having now played throughout the country and abroad, including London’s West End.

True to their mandate of presenting scaled-down, limited run versions of older shows that deserve another look, New York City Center Encore’s offers a slickly produced and well-performed remounting of Bat Boy: The Musical, just in time for Halloween. With story and book by Keythe Farley and Brian  Flemming paired with music and lyrics by a pre-Legally Blonde Laurence O’Keefe, this fast-moving production is a definite crowd pleaser. Starring Taylor Trensch as the wretched Bat Boy (aka Edgar) and  Christopher Sieber as the questionable veterinarian Dr. Parker, the show is full of top-notch talent and boasts a rousing rock/funk/musical comedy/gospel/country influenced score (I assume adding a Transylvanian waltz would have made it too busy). Yes, it’s kinda creepy, kinda messy, there’s forbidden love and, of course, blood. But it’s a show about a lonely bat boy who’s stuck in a repressive small town and includes shadow puppets, a timely lesson about acceptance and Marissa Jaret Winokur (Broadway’s original “Tracy Turnblad” in Hairspray) as a loud-mouthed, white trash mother of three. What’s not to love?

It’s a tale as old as time. A feral young bat boy lives in a cave outside of town, avoiding the sun, minding his own business. One day, he’s discovered by some rowdy teens who are cave exploring. Immediately, the town sheriff gets involved. He puts the terrified bat boy into a sack and drops him at the home of the town veterinarian, Dr. Parker. There the bat boy is put into a giant cage (doesn’t every vet have a giant cage in the basement?) causing the vet’s unhappy wife Meredith to feel motherly concern for the pitiful creature. When Dr. Parker comes home, he quickly realizes that caring for that twitchy thing downstairs may be the best way to repair his failing marriage. Besides, their teenage daughter Shelley wants to keep it as a cool, new pet. Bat Boy has found a home.

And sure enough, within a matter of weeks, he is transformed. Renamed “Edgar” by Meredith, he’s been educated, has become a CPA, and speaks the King’s English better than royalty, adopting a British accent he learned from watching the BBC. And this was all accomplished without leaving the Parker’s living room. In his Edwardian era clothing that he designed (where Edgar found such heightened apparel in a small community that raises cows is a mystery), he’s finally ready to face the world at large. But Dr. and Mrs. Parker don’t think this is such a great idea as, unbeknownst to Edgar, the town citizenry has already raised strong concerns about his presence amongst them. And there’s something else. The Parkers weren’t all that surprised to meet this now charming and refined human hybrid who lives on animal blood. Did they know of him before? If so, how? Does Dr. Parker really have Edgar’s best interests at heart? And what does this mean for Edgar’s new life? Seemingly, the Parkers can take the boy out of the bat. But can they take the bat out of the boy?

One would think a musical with these tabloid origins would largely be an over-the-top, camp-fest best suited for the late-night comedy circuit. And while Bat Boy: The Musical does not shy away from the inherent silliness in its DNA, it also has some very serious and moving moments interspersed among the decapitated waterfowl. And with our current national climate concerning immigration, this two-week only production makes some perhaps unintended observations about othering people based solely on appearance or background differences. Yes, he’s half-bat, but he’s a vulnerable, sensitive, well-meaning half-bat, just looking for love and acceptance. And what creature, nocturnal or sun-worshipping, can’t relate to that basic desire?

Admittedly, the show’s book can get a little bogged down with story details and some tonal inconsistency, especially in the set-up. But Alex Timbers‘ focused direction keeps the action at a pace that doesn’t allow much time for audience contemplation. And that’s a good thing, as one shouldn’t spend too much time applying logic to an illogical situation. Especially in the gangbusters second act when reveals and story move so fast, it’s best to just strap in and go along for the ride. And what an entertaining, gorgeously sung and genuinely surprising ride it is.

And speaking of singing, the voices in the show are phenomenal. As Meredith Parker, Kerry Butler almost steals the proceedings with her impeccable comic timing and powerhouse vocals. (Fun Fact: Butler played the daughter Shelley in the original Off-Broadway production.) And as the current Shelley Parker, Gabi Carrubba makes quite the splash with her own comic chops and impressive pipes. Mr. Sieber brings his resounding baritone and theatrical expertise to the creepy Dr. Parker, making him the guy we love to hate (or just hate). Ms. Winokur and Alex Timbers both deliver strongly as the conniving Mrs. Taylor and The God Pan, respectively. But a show like this rises or falls on the title character, and Mr. Trensch as Bat Boy takes the show to some dizzying heights indeed. Equal parts moving, hilarious and vicious, this excellent actor/singer imbues the title character with a depth of humanity and sensitivity that far outshines the other so-called humans around him. His humorous solo song “Let Me Walk Among You” subtlety shifts into a sincere and plaintive plea for someone, anyone to just shake his hand. Beautifully performed by Trensch, it’s a real heartbreaker.

Music Director Andrew Resnick and the impressive orchestra manage to keep the various music styles separate but united. David Korins‘ sets takes a nod from previous Encores! outings, providing a static, stage filling frame that can be quickly dressed for various locations. It works for the most part, though the Parker’s house interiors can get a bit confusing. Lighting design by Justin Townsend works well, especially his use of red neon in the climactic scenes. The costumes by Jennifer Moeller offer a fun mix of reality and fantasy.

It’s a Bat! It’s a Boy! It’s a Bat Boy! And he’s hanging from the rafters at New York Center City for a limited time only! So go see him before it’s too late. More than just a quick bite on the neck, this formerly feral young man offers a timely lesson in human decency, kindness and acceptance. “Do unto others” as the saying goes. Unless you’re a rat. Or a rabbit. Or a cow. Or a goose. In that case, maybe don’t turn your back on the bat.

photos by Joan Marcus

Bat Boy: The Musical
Encores!
New York City Center, 131 West 55th Street
2 hours and 15 minutes, including one intermission
ends on November 9, 2025
for tickets (from $45), call 212.581.1212 or visit NY City Center