Off-B'way Review: Bat Boy The Musical; Oh Happy Day!

Two fantasy-based productions are currently running Off-Broadway, one darkly satirical, the other raucous yet reverential. The campy comedy is Bat Boy, New York City Center’s annual gala presentation, and the roof-raising and religious offering is Oh Happy Day! at the Public. Both have moments of joy, fun, and outrageous theatrical flair.

Taylor Trensch, Mary Faber, and
Christopher Sieber in Bat Boy The Musical.
Credit: Joan Marcus

Bat Boy opened Off-Broadway in 2001. It was one of many funny spoof-ical shows, satirizing pop culture and musical conventions. Inspired by a sensational tabloid story, Keythe Farley and Brian Flemming’s jokey book focuses on a bat-like youngster found in a West Virginia cave. A veterinarian’s family takes the boy in and attempts to assimilate him into their conservative community, but his natural blood lust, not to mention his vampirish appearance, causes issues. Like Little Shop of Horrors, Urinetown, Hairspray, Reefer Madness, and Book of Mormon, the goofy show takes a parodistic tone and Alex Timbers’ confident new staging combines a cartoonish viewpoint with slick professionalism.

Taylor Trensch, Alex Newell, and
Gabi Carrubba in Bat Boy The Musical.
Credit: Joan Marcus

Laurence O’Keefe’s songs still hit the bull’s-eye on their satiric targets, especially as staged by choreographer Connor Gallagher with a tip of the hat to Broadway tropes. The Sondheim-esque “Three Bedroom House” retains its driving energy, reminiscent of “Another Hundred People” from Company, delivered with humor and power by Kerry Butler as Meredith, Bat-Boy’s adoptive mother, and Gabi Carrubba as Shelley, his more than sisterly temporary sibling. (Butler originated the role of Shelley and has beautifully transitioned to the more mature role.)  “Show You a Thing or Two,” in which Edgar aka Bat Boy is given a crash course in history and culture, is a delightful tribute to Eliza Doolittle moments and Main Stem pizzazz, complete with a Chorus Line kick line, courtesy of Gallagher. “Children, Children,” a forest-set sexual fantasy with Edgar and Shelley teetering on the brink of sexual awakening, makes fun of Julie Taymor’s Lion King menagerie. The chorus is transformed into horny woodland creatures, led by a delightfully Dionysus-like Alex Newell as the God Pan. Jennifer Moeller’s crazy critter costumes are a hoot (as is David Korins’ Halloween-ish haunted-house set.)