The musical maestro figures remain timeless as ever, and while the voice performances in this production are indeed exceptional, the storyline used to propel everything onto the stage, based on JM Barry's Lost Boy in the 1904 play Peter Pan, is questionable at best!
The show – somewhere between Warner Bros.'s 1987 vampire film The Lost Boys, is based on a stage musical, the American Idiot and an album of the same name – is a complete dichotomy.
But then the ego (and money) comes out! Steinman was often considered the guy who wanted to be a meatloaf, but the second he tried was that it didn't happen at all because he was a writer and Meatloaf was a performer. This show is driven by musicians that I fear. ego? I dare not to suggest anything like that!
Nonetheless, this has nothing to do with the amazing performances I've seen on stage.
As the lost boy and girl escape from ruler Falco (Rob Fowler) into the tunnel under the city, his teenage daughter Raven (Katie Tonkinson) locks in a large part of their love, who is under threat of threatening to destroy both the lost Strutt (Luke Street)'s fearless leader, and their family.
One story, perhaps a Twee paragraph, but I was fascinated by Luke Street, who had a dying voice. Reading that he played Judas/Jesus in the superstar of Jesus Christ, I was a bit surprised, both of whom are demanding harsh voices.
He agreed with Tonkinson and the powerful, youthful, energetic cast, giving them all, cultivated all the calories into the dance pieces of Xena Gusthart, and cultivated director Jay Scheib's production with classic songs like Dead Ringer for Love, Heaven Can Wait, and 2 of 3.
Trust all rhetoric and PR puffs. Then you'll place this musical on a pedestal with a Phantom, Lesmith, or one of the other greats. The video camera rings around the stage, the version of the Blair Witch project you might say didn't help!
At intervals, the woman commented: “This is my third time, but something has changed. It was like I was looking in the middle first. I don't know what's going on!”
But for anyone at Leeds Grand, I dare to suggest the creation of a lynching mob, as last night the audience was a representative sample of over 50m meatloaf die hard that they had purchased the album since 1977.
I love meatloaf. You'll love this musical, but if you're not a bat of hell's stubbornness, you'll risk overwhelming indifference to this stage production, but perhaps not the music itself. It's worth a curiosity visit!
* Bat Out Out Hell runs at Leeds Grand Theatre until Saturday, April 27th. It then starts at 8pm (2pm on Saturdays).
Arabic
Chinese (Simplified)
Dutch
English
French
German
Italian
Portuguese
Russian
Spanish