Bat Out Of Hell.

Meat Loaf had a voice that powered many iconic music ballads spanning over his fifty-four-year career. From Objects in the Rear Mirror, Dead Ringer for Love and Bat Out Of Hell to name but a few from his extensive catalogue. The book, music and lyrics are by Jim Steinman.

The Musical’s storyline is weak in places and fractured. The classic story of a boy from the wrong side of the City and a girl from the wealthier side who are attracted to each other and desperately want to be together. As predicted her Father (Rob Fowler) is against the match and goes out of his way to use any method he can to prevent this happening.

Glenn Adamson played the lead role of Strat from the “other” side of the city. His performance is predominantly strong and his facial expressions add a likeable edge to the character. Raven (Katie Tonkinson) takes on the lead female. The opening number Love and Death and the American Guitar is a strong emotive number which didn’t provoke the dramatic entrance that it is capable of.

Sadly the Musical felt like two separate productions. The first act appeared to be holding back at times and felt weak in places with the choreographed dance numbers sliding at times. The use of handheld microphones was distracting at times and seemed to hinder the physical performances which required both hands.

However, in act two it felt like there had been a partial cast change as they came back onto the stage with more precision, power, and stronger performances all around. Meat Loaf ballads require power and strong singers which unfortunately was missing at times.

Two performers stood out throughout the musical and were consistently strong. Carla Bertran in the role of Tink (not blink or stink) and Ryan Carter as Ragwire held their own and both have a strong stage presence. I would like to see what Carter could do in a lead role.

Costumes and staging by Jon Bausor are outstanding. The opening title where the Bat Out Of Hell name breaks up into small flying bats is a brilliant touch by video designer Finn Ross.

The band led by musical director and keys Iestyn Griffiths were flawless throughout the musical. Bringing the power and tempo of the iconic music to life with passion and gusto. They could present an instrumental evening of Bat Out Of Hell alone.

Despite my reservations and observations of the musical the auditorium was receptive after each ballad and appeared to be completely in awe of the performance ending with a standing ovation.

For more information about the touring production of Bat Out Of Hell please use on the link below.

Three Stars.