A trio of topnotch star turns are the three best reasons to catch Morgan-Wixson Theatre’s over-the-top staging of the horror rock extravaganza that is Bat Boy: The Musical. (It would help too if you could understand what the characters are saying/singing.)

The half-boy/half-bat who gives the 2001 off-Broadway hit its title is first discovered running wild in the woods by redneck teen siblings Ron (Jack Colyer), Rick (Ashton Bianchi), and Ruthie Taylor (Diana Cabell) and brought back to civilization (if you can call it that) where local law officer Sheriff Reynolds (Lorne) deems it best to leave the screeching, grunting creature in the home of town veterinarian Dr. Parker (Connor Tyler Gray), his wife Meredith (Lauren Josephs), and the Parkers’ teen daughter Shelley (Cassandra Caruso).

Given a human name as befits his new surroundings, Edgar (Aaron Ellis) quickly proves himself the fastest of learners, revealing both the intelligence of an Oxford scholar and a posh English accent to match.

Unfortunately for Edgar, a series of mysterious cattle deaths leads the uncouth townsfolk to target him as the perpetrator of these gruesome crimes, which is why Meredith insists that Edgar stay as far away from an upcoming revival meeting as possible, words of wisdom he seems unlikely to heed given his desire to prove to the locals that they have nothing to fear but fear itself.

What Bat Boy fails to realize is that danger lies a lot closer to home in the person of the increasingly maniacal Dr. Parker.

All of this adds up to a musical that won multiple major awards in its original off-Broadway run and rave reviews for composer-lyricist Laurence O’Keefe (of subsequent Legally Blonde and Heathers: The Musical fame), and Bat Boy: The Musical’s tuneful, clever songs remain its greatest asset, with Keythe Farley and Brian Flemming’s wild and wacky book coming in a close second.

For all this wildness and wackiness to work, however, a deft directorial hand is required because played too broadly, as is the case in this community theater revival, the cleverness of Farley and Flemming’s book can end up lost in the chaos.

And it’s not just the overacting that gets in the way at the Morgan-Wixson.

Without individual body mikes for amplification, a combination of shouted lines and exaggerated redneck accents make it virtually impossible to figure out what characters are saying, and prerecorded rock tracks too often drown out song lyrics as well.

Fortunately for audiences, lead trio Ellis (as sweet and endearing as can be), Josephs (maternal warmth and concern personified), and Caruso (teen temptress perfection) not only have the vocal chops to sell Bat Boy’s songs, the authenticity and subtlety they bring to Edgar, Meredith, and Shelley stand in marked contrast to castmates who would be far more effective if reined in more than a bit.

It’s as choreographer that director Meghan Ripchik earns deserved cheers in a series of production numbers tailored to bring out the best in a cast (completed by Nico Fisher, Kalani Lopez, Tommi Jo Mongold, Johnathon O’Neal, Carlos Santos, Norman Thatch, Abigail Torrence, Roni Renee Williams, Javon Willis, and Rachel Yoffe) who may not be trained dancers, but make such numbers as “Show You A Thing Or Two,” “A Joyful Noise,” and “Children, Children” entertaining showstoppers, their singing coached by vocal director Eden Evans.

Designers Russell Chow (lighting), Martin Del Orbe (sets), Nia Heinrich (costumes), Paloma Cortés Martínez (props), and Lex Verdayes (hair and makeup) give Bat Boy: The Musical an appropriately spooky, wacky look that’s just right for an October run with Halloween just around the corner.

Bat Boy: The Musical is produced by Erica Kahn. Rachel Diaz is intimacy coordinator. Ashley Marie Macalino is production stage manager and Kyle Lukas and Emily McFerson are assistant stage managers. Ethan Strubbe is sound designer and Julie Ouellette is fight choreographer.

Morgan-Wixson Theatre may not be giving Bat Boy: The Musical the polished production the show deserves, but at the very least Aaron Ellis, Lauren Josephs, and Cassandra Caruso give even the most discriminating of audiences reason to cheer. If only the rest of it were that good.

Morgan-Wixson Theatre, 2627 Pico Boulevard, Santa Monica.
www.morgan-wixson.org

–Steven Stanley
October 6, 2024
Photos: Joel Castro

Tags: Brian Flemming, Keythe Farley, Laurence O'Keefe, Los Angeles Theater Review, Morgan-Wixson Theatre