With its mix of campy humor, outrageous plot, pathos and positive messages, “Bat Boy: The Musical” is a theatrical gem. Burnished and brightened by an outstanding cast and crew, it opened Thursday at Footlite Musicals, in the Hedback Theater on Indianapolis’ near northside, where it will continue its run through July 17.
Locally presented by the Phoenix Theatre in 2002, this Footlite Musicals production of “Bat Boy” is the Indianapolis community theater’s premiere.
Based on a 1992 Weekly World News story about a half-boy, half-bat that was found in a cave, “Bat Boy” premiered in a performance by Tim Robbins’ Actors’ Gang troupe in 1997 and was produced off-Broadway in 2001. The story and book are by Keythe Farley and Brian Flemming, with music and lyrics by Laurence O’Keefe.
In this stage adaptation of the tabloid story, Bat Boy, who is gentle and sensitive, is taken in by a family who names him Edgar and teaches him how to speak and act like a human. Yearning for acceptance from rage-filled citizens who demonize him in the West Virginia town in which he lives, Edgar is also threatened by his foster father’s toxic jealousy.
Ably directed by Kathleen Clarke Horrigan and produced by Zach Rosing, this Footlite Young Adults Production features a young cast, ages 18-25. With no better way to describe them other than then the clichéd “triple threats” they are, the talent of these young performers is eclipsed only by their focused energy and enthusiasm.
Damon Clevenger gave an extraordinarily moving performance as Edgar, the Bat Boy. His transformation from a wild untamed creature raised by bats into a suit-wearing gentleman who learns how to hold his tea cup with his pinky finger up was a marvel.
A trained opera singer, Nina Stilabower, who played Meredith Parker, added strong vocals and was touchingly effective as Edgar’s protective and nurturing foster mother who patiently teaches him how fit into a hostile world that fears and abhors him.
Skillfully playing Dr. Thomas Parker, Edgar’s unscrupulous foster father who is jealous of his wife’s affection toward Edgar, Justin Klein saturates his character with equal parts villainy and false charm. Also impressive was Klein’s distinctive singing voice, notable for its pleasing tone.
Completing this odd family unit was Libby Buck as the Parkers’ daughter, Shelley. Also possessing a superb vocal instrument, Buck was appealing as a guileless teen ager who is at first horrified by the Bat Boy but later discovers he is much more than his pointed ears, bald head, fanged teeth and bat-like movement.
Production numbers in which the aforementioned performers and the company excelled were “Dance With Me” with Stilabower and Klein; “Show You a Thing or Two” with Clevenger, Stilabower, Klein and Buck; “Let Me Walk Among You,” featuring Clevenger; and “Inside Your Heart,” with Clevenger and Buck.
Other standout performances were those of Matthew Altman as the sheriff, Grant Joseph Conrad as Rick Taylor, Will Jones as the Rev. Billy Hightower and Matt Patterson as Pan.
Also deserving of praise are vocal director David Barnhouse and choreographer Melissa Shott for their contributions toward giving this production its professional polish.
Gus Sterneman led a fine orchestra consisting of Giselle Dollinger on piano and keyboard, Phoenix Lyons on keyboard and synthesizer, Andrew Wahnsiedler on guitar, Donna Weber on bass and Patti Walker on drums.
The technical elements of this production were nearly flawless (especially Clevenger’s makeup) except for the cheesy-looking wigs worn by Meredith, Rev. Hightower, Pan and a few other characters.
Other inconsistencies included uneven sound levels and a malfunctioning mike worn by Klein during one of his songs. These problems will no doubt be resolved as the run continues.
It should be pointed out that this show is definitely not family-friendly and is for mature audiences only.
For tickets and information for “Bat Boy: The Musical,” call the Footlite Musicals box office at (317) 926-6630 or visit www.footlite.org.
