‘Bat Boy: The Musical’ opens next Thursday! Buy your tickets online!
Bat Boy: The Musical Flies into the Bonstelle Theatre for Only Two Weeks
Opening April 12, 2013
DETROIT— The Bonstelle Theatre presents the rock ‘n’ roll cult classic, Bat Boy: The Musical by Keythe Farley, Brian Flemming, and Laurence O’Keefe, running for only two weeks, April 12 through 21, 2013. Based on the grocery store tabloid, Weekly World News, Bat Boy: The Musical is a rambunctious musical comedy that closes the Bonstelle Theatre season with a bite. Tickets are $20-$25 and are available by calling (313) 577-2960, visiting http://www.bonstelle.com, or visiting the Wayne State University Theatres Box Office located at 4743 Cass Avenue on the corner of Hancock.
Bat Boy: The Musical is about a supernatural half bat/half boy creature that is discovered in a cave in West Virginia and brought to the home of local veterinarian Dr. Parker. The Parker family decides to take him in and teach him to behave as a normal human, attempting to integrate him into a narrow-minded town. As he tries to fit in, romantic sparks fly and he decides to run away with the veterinarian’s daughter, Shelley. But happiness is shattered as the town hears the shocking story of Batboy’s unholy origin.
First performed on Halloween in 1997, Bat Boy: The Musical has had success both in the United States and in London’s West End. The character of Bat Boy was created by former Weekly World News Editor Dick Kulpa, and debuted as a cover story on June 23, 1992. The original front-page photo of Bat Boy, showing his grotesque screaming face, was the second-best selling issue in the tabloid’s history, and he has since evolved into a pop-culture icon. This creature inspired writers Keythe Farley and Brian Flemming to write a stage adaptation, and they were joined by American composer/lyricist Laurence O’Keefe.
The musical differs in a few of its plot details from the Weekly World News portrayal of Bat Boy. In the musical, Bat Boy learns to speak from his adoptive family, yearns for acceptance and tries to join society, only to face hatred and violence from a town that fears him and jealous rage from his foster father. But according to the Weekly World News, Bat Boy is a member of a race of creatures who have interacted with humans for at least 400 years, and he was discovered in the Ozarks in 1992 by biologist Dr. Ron Dillon after he was trapped by a falling rock in a cave he was hiding in. At the time only two feet tall and weighing less than 20 pounds, Dr. Dillon was shocked later when the creature grew a set of wings and escaped. This would be only the first of Bat Boy’s many captures and escapes that Weekly World News would expand upon.
Though Bat Boy and his stories told by Weekly World News are fictional, the story of Bat Boy: The Musical deals with serious themes such as hypocrisy, acceptance, forgiveness, racism, revenge, and scapegoating, but often punctures the most serious moments with slapstick, surrealism, camp-horror, and irony. The show also contains religious themes with biblical allusions. One interesting theme about the show, which lies somewhat underneath the surface, is the idea that we all have a dark side, or an animal side, that comes out when we’re afraid, that drives us as humans for food, sex, power, or control; and the idea that we must embrace this side of ourselves instead of fear it.
Bat Boy: The Musical won awards for best Off-Broadway musical including the Lucille Lortel Award, two Richard Rodgers Awards from the American Academy of Arts and Letters, and the Outer Critics Circle Award in 2001. Regional productions of Bat Boy have been nominated for and won awards including the 2003 Elliot Norton Award (New England) and the 1998 Ovation Awards (Los Angeles).
The cast includes (in alphabetical order):
Jacqueline Fenton (Allen Park, MI) Ensemble, Ivy Haralson (Belleville, MI) Ron Taylor, Bridgette Jordan (Southfield, MI) Reverend Billy Hightower, Sara Kline (Madison Heights, MI) Sheriff Reynolds, Alyssa Lucas (Garden City, MI) Maggie, Colin Mallory (East Lansing, MI) Pan/Daisy, Jackson McLaskey (Mt. Clemens, MI) Dr. Thomas Parker, Matthew Miazgowicz (Dearborn, MI) Lorraine, Shane Nelson (Windsor, ON) Bud, Britta Peele (Harrison Township, MI) Shelley Parker, Jonathan Pigott (Wyandotte, MI) Ensemble, Kelly Robinson (Royal Oak, MI) Meredith Parker, Luke Rose (Harrison Township, MI) Rick Taylor, Anthony Scamihorn (Marshall, MI) Mrs. Taylor, Anna Seibert (Detroit, MI) Ruthie Taylor/Ned, Nicholas Yocum (Royal Oak, MI) Bat Boy/Edgar.
The production team includes:
Michael J. Barnes (Director), Julia Moriarty (Assistant Director), Jeffrey Michael Rebudal (Choreographer), Daniel Greig (Music Director), Devon L. Hansen (Instrumental Music Director), Meghan Lynch (Stage Manager), Curtis Green (Scenic Designer), Anthony Karpinski (Technical Director and Properties Master), Mary Gietzen (Costume Designer), Brian M. Scruggs (Lighting Designer), Tyler Ezell (Sound Designer), and Alexandra Stewart (Publicity Manager).
About the Bonstelle Theatre
The Bonstelle Theatre is a Broadway-style House with a 1,143-seat auditorium featuring a balcony, owned by Wayne State University. Here, future stars of theatre, film, and television follow in the footsteps of such successful alumni as Emmy and Golden Globe Award-winning S. Epatha Merkerson (NBC’s Law and Order, Lackawanna Blues), Lily Tomlin (9 to 5, ABC’s Desperate Housewives) and Ernie Hudson (Ghostbusters, NBC’s Heroes). For box office hours and information on performances, tickets, group discounts and corporate packages, please call the box office at (313) 577-2960 or visit the theatre’s website at www.bonstelle.com. Wayne State University is a premier urban research institution offering more than 370 academic programs through 13 schools and colleges to nearly 29,000 students.
Season sponsored by CBS Outdoor, Between the Lines, and Encore Michigan
Bat Boy: The Musical
Book by Keythe Farley and Brian Flemming
Music and Lyrics by Laurence O’Keefe
April 12, 2013 – April 21, 2013
Friday 8 p.m. April 12, April 19
Saturday 8 p.m. April 13, April 20
Sunday 2 p.m. April 14, April 21
It’s cold outside and you may be feeling the fatigue which accompanies returning back to work and school after winter vacation. What better way to wind down and warm up than to escape to the world of Fantasio, a play by Alfred De Musset. The script is highlighted with whimsical, French Romantic themes, and contains heartfelt prose which may melt the ice of the coldest hearts. This short, yet amusing play has captivated my mind and those of the cast and crew for the last ten weeks, and without further adieu, we are opening up our world to an audience tonight! Working on this show has been such a delight, and rehearsals with director Michael Butterworth have proved new levels of creative exploration and enjoyment.
Perhaps at a glance, this show is to be one more fairytale wrapped up in clichés and cartoon-standards, but this is not the case for Fantasio! I was enthralled upon reading the script, and realizing these character’s ethics, morals, and objectives. Musset paints a charming picture of a city where the Princess Elsbeth has been betrothed to the Prince of Mantua to avoid war and maintain peace. Musset introduces the clever and passionate persuasion of Fantasio, a gentleman who because of debts must disguise himself as the court jester to avoid his creditors. Fantasio meets the Princess in his new disguise, they fall in love, but what happens to the marriage between Elsbeth and the Prince is to be discovered in our two acts. It’s a story of sacrifice and circumstances which can be easily related to. Every now and then, because of social class or because of life commitments and circumstances, we don’t always get what we want or deserve, and that’s the honesty of life. If everyone could get married and coupled off, and if there was no sight of war or tension, well now that’s a fairy tale! Fantasio blends these ideals, presenting the truth, but reveals those tender moments in life where things are okay, even if for a fleeting period, and in those moments where circumstances and commitments disappear, that’s where life becomes appreciated for its reality, and understood to go on both happily and bittersweet ever after.
-Anthony Scamihorn (Facio)