Theatre & Dance at Wayne Announces the 2013-2014 Season

DETROIT – The Wayne State University Maggie Allesee Department of Theatre and Dance announces its 2013-2014 season, showcasing a mix of both classic and modern plays that is sure to have something every theatergoer can enjoy. Subscriptions start as low as $102 and go on sale March 1, 2013. In addition to a traditional Hilberry or Bonstelle subscription package, Theatre & Dance at Wayne is also offering packages as well as memberships to the theatres for more value and convenience for busy theatre patrons.

To subscribe, call (313) 577-2972 or visit the Wayne State University Theatres Box Office at 4743 Cass Avenue on the corner of Hancock. Subscribers are an integral part of the Hilberry community and they enjoy discounted prices, priority seating, exchange privileges, lost ticket insurance, free coffee,  and a free subscription to our newsletter. Package and membership holders also enjoy a few more benefits than the single ticket buyer.

At the Bonstelle Theatre:

Our Town by Thornton Wilder

Described as “the greatest American play ever written,” this story illuminates two unexceptional families living unremarkable lives over the span of several generations in small town America. This 1938 Pulitzer Prize winner is a touching and thoughtful look at life’s extraordinary journey.

’Twas the Night Before Christmas by Jennifer Kirkeby and Shirley Mier

A whimsical reimagining of the classic Christmas poem! Writer Clement Moore is working on a tough assignment from the New York Evening Post: President James Monroe desires a holiday feature story to read Christmas morning. As Clement struggles with writer’s block, he dawdles by enjoying the season with his family.

In the Red and Brown Water by Tarell Alvin McCraney

As a girl, Oya must choose between her dream of being a star athlete and caring for her mother. As a woman, she’s torn between the man she lives with and the man she can’t live without. This fusion of contemporary African-American culture and elements from Yoruba mythology is an inspiring story about how our choices make us who we are.

85th Annual Spring Dance Concert

Each spring in March, the dance department curates a collection of dance works choreographed by students, faculty and guest artists. Each piece may employ various disciplines from ballet and jazz to modern, some of the work being reconstructions of prominent choreographers, as well as many premieres.

Guys and Dolls by Frank Loesser, Jo Swerling, and Abe Burrows

The 1951 winner of five Tony Awards including Best Musical, this classic exposes the gritty 1920s New York underworld. Renowned for his craps game, Nathan Detroit wagers another gambler that he can’t make the next girl he sees fall in love with him—the pretty, pious band leader of the local Mission. This “perfect musical comedy” is a sure bet!

At the Hilberry Theatre:

Macbeth by William Shakespeare

Obsessed with ambition upon learning of his destiny to become king from the prophesying Weird Sisters, Macbeth is spurred to assassination by his determined and stout-hearted wife. They descend into the depths of murder and madness, but Macduff leads the vengeful attack against the Macbeths before they can wash the blood from their hands.

Big Love by Charles L. Mee

Fifty brides forced to marry their fifty cousins are on the run—only to be pursued and discovered by the fifty grooms. In this modern adaptation of The Suppliant Women by Aeschylus, you’ll plunge and soar on this roller coaster of comedic mayhem, harsh realities, and the occasional pop song. This dark comedy explores human rights, gender politics, and love.

A Doctor In Spite of Himself by Molière, Adapted by Christopher Bayes and Steven Epp

Hold on to your hats with this laugh-out-loud comedy that begins—as many do—with the soured relationship between a husband and wife. Hell has no fury like a woman scorned when a wife dastardly turns her husband into a doctor. Mistaken identity, lighthearted romance, naughty innuendo, and irreverent hijinks ensue in this ridiculous façade.

Gross Indecency: The Three Trials of Oscar Wilde by Moisés Kauffman

In 1895, playwright and wit Oscar Wilde was put on trial for his relationship with Lord Alfred Douglas, which led to charges of “committing acts of gross indecency with other male persons.” This dramatically clever piece illustrates the ever-continuing conflict between art and morality in a way that Wilde himself would have approved.

Moon Over Buffalo by Ken Ludwig

From the author of Lend Me a Tenor, this whimsical backstage farce piles hysterical misunderstandings on top of madcap misadventures. Fading stars George and Charlotte Hays duke it out during their tour to save their theatre company and their marriage. They are given a (last) chance at fame if they can just figure out which show they are performing!

August: Osage County by Tracy Letts

The Westons represent the modern American family dealing with deteriorating health and relationships on the plains of Oklahoma. Winner of the 2007 Pulitzer Prize and Tony Award, this dark comedy fluctuates between sidesplitting humor and gut-wrenching despair as we watch the family struggle to support each other through overwhelming circumstances.

About Theatre and Dance at Wayne

Wayne State University’s Maggie Allesee Department of Theatre and Dance serves students as a nexus of performance, production and research in the fields of dance, theatre, and performance studies. It provides a wide choice of degree programs that allow students the flexibility to study these disciplines broadly or to concentrate more specifically in performance or management. The dance program is one of the longest-running in the U.S., tracing its beginning to Ruth Lovell Murray’s founding of the Dance Workshop in 1928. The theatre program is internationally recognized as a training ground for theatre professionals. The Hilberry Theatre is the nation’s longest-running graduate repertory company. The two programs are accredited by the National Association of Schools of Dance and the National Association of Schools of Theatre, respectively.

REVIEW: Bonstelle’s ‘Bat Boy’ a must-see musical

Review by Robert Delaney, New Monitor

View production photos or join the Facebook Event!

'Bat Boy: The Musical' Credit: Kevin Replinger

‘Bat Boy: The Musical’
Credit: Kevin Replinger

A freakish creature often reported on by the Weekly World News is discovered in a West Virginia cave in “Bat Boy: The Musical,” being given a superb production at Wayne State University’s Bonstelle Theatre in Midtown Detroit.

Yes, after all these years of seeing him stare at you from the front page of that supermarket tabloid as you waited in the checkout line, Bat Boy is the subject of a lavish stage musical, thanks to Keythe Farley and Brian Flemming, who wrote the book, and the music and lyrics of Laurence O’Keefe.

And Bat Boy is bringing delight, not terror, to Detroit audiences, thanks to this splendid production directed by Michael J. Barnes and performed by a truly impressive undergraduate cast.

The show is surprisingly great fun to watch, and many aspects of this WSU production rise above what one would normally expect of even a good college production.

This is most especially true of the outstanding and genuinely professional quality performances of Nicholas Yocum as Bat Boy, Britta Peele as Shelley Parker and Bridgette Jordan as Reverend Billy Hightower.

Yocum scores high marks for not only his acting and singing, but also for the agile athleticism he brings to the role.

This has been quite a season for Peele, a graduating senior in WSU’s program. She earlier wowed area audiences with her portrayal of Lolia in “Hamtown Races” at the Planet Ant Theatre in Hamtramck and as Annie in “Cancer, the Musical” at the Marlene Boll Theatre downtown. If you have yet to see this very talented young actress or hear her excellent singing voice, make sure you catch her in this production.

Also giving truly impressive performances are Kelly Robinson as Meredith Parker, Jackson McLaskey as Dr. Thomas Parker and Luke Rose as Rick Taylor. But the entire cast can be justly proud of the success of this production, as can the musical ensemble, led by Devon L. Hansen, and those who worked the technical side of things.

Scenic designer Curtis Green, costume designer Mary Gietzen, lighting designer Brian M. Scruggs and choreographer J.M. Rebudal are certainly among those who deserve great credit for their roles.

How sad that such a sensational production should only run for two weekends! But there is still time to get tickets to one of this weekend’s final three performances.

“Bat Boy: The Musical” continues through April 21, with performances at 8 p.m., Friday and Saturday, and a 2 p.m. Sunday matinee, at the Bonstelle Theatre, 3424 Woodward Ave., a block south of Mack. For ticket information, call the WSU Theatre box offi ce at (313) 577-2960 or visit http://www.wsushows.com.

REVIEW: The Bonstelle brings the cult hit ‘Bat Boy: The Musical’ to Motown

Review by Patty Nolan, The Examiner

Click HERE to read the review on the Examiner’s website.

View production photos or join the Facebook Event!

Thomas Parker (Jackson McLaskey, center) and Bat Boy (Nicholas Yocum, right) Credit: Kevin Replinger

Thomas Parker (Jackson McLaskey, center) and Bat Boy (Nicholas Yocum, right)
Credit: Kevin Replinger

“Bat Boy: The Musical,” by Keythe Farley, Brian Flemming, and Laurence O’Keefe, is the campy cult hit that doesn’t lend itself to easy handles. Not unlike “Little Shop of Horrors,” this show has terrific music, an unlikely romance, and a primary character with a thirst for fresh blood. Did we mention a few grisly murders thrown in for good measure?

But “Bat Boy” is in a class by itself – a send up of the classic tabloid story from Weekly World News about the adventures of a half-bat/half-boy creature. And it is a riveting, riotous piece of fun from start to finish. We really can’t recommend it enough.

The Bonstelle Theatre company, under the direction of Michael J. Barnes, finds exactly the right tone to pull off a dark comedy like this one. And that tone is sincerity. The more the characters play it straight, the funnier the situations become for the audience. Of course, it doesn’t hurt that many of the characters are played by cross-dressing actors. Women play boys, sheriffs, and gospel-song-slinging revival-style preachers (shout out to Bridgette Jordan) and men play crazy cat ladies and white trash mommas. And then there’s the Bat Boy.

Nicholas Yocum is exceptional in the role of the feral creature found in a cave in West Virginia and brought home to live with the family of local veterinarian, Dr. Parker (the always brilliant Jackson McLaskey), his wife Meredith (the gifted Kelly Robinson) and daughter Shelley (the perfect ingenue, Britta Peele). Something about the Bat Boy brings out all of Meredith’s maternal instincts. She names him Edgar, and in a series of delightful scenes we watch as he progresses from a few rudimentary words to a mastery of the language that rivals the sophisticates of Downton Abbey.

Unfortunately, before he was “tamed,” Edgar bit one of children who dragged him out of his cave at the opening of the show. Little Ruthie doesn’t seem to be healing quite right. And the good God-fearing, blood-thirsty town folk begin to suspect that Edgar is also behind recent losses in their cattle herd. Meanwhile, Edgar, well … let’s just say he has his own quirky appetite to contend with.

Will the town folk give Edgar a chance? Will any cattle make it to the end of the play? What is the secret to Bat Boy’s unholy origins? And will we all learn to embrace our inner Bat Boy? You simply have to see this zany musical to discover how it all turns out.

The opening night crowd at the Bonstelle hooted and cheered throughout the show – and it’s easy to understand why this play has its own cult following. We could cheerfully go see it again before it closes. But perhaps the best point of view on this show comes right from the spotlight.

Nicholas Yocum, who has appeared in several Bonstelle productions, was nice enough to answer our questions about his acting career and what it’s like to play Bat Boy.

Q. I’ve seen you in a number of shows – including at Stagecrafters – how long have you been performing?

Nicholas: I’ve been acting since I was 8-years-old. That would make it fifteen years. I grew up doing a lot of community theatre, especially at Stagecrafters – that place will always hold a special place in my heart. I also did a couple of shows with Michigan Opera Theatre.

Q. What’s your favorite thing about this role? Can you compare it to anything else you’ve done?

Nicholas: I love everything about this role. I get quite a workout every night, physically and vocally. It’s unlike anything else I’ve ever done for that exact reason. I’m not sure that there are a lot of roles around that push your body to its limits as well as challenge you with a high-range, unrelenting vocal part. But I do love every second of performing it, especially since I have so many friends up on stage with me. If I had to choose one aspect of the role, it would have to be the blood. It’s surprisingly tasty!

Q. What should we tell people who aren’t familiar with the play that will make them want to see it?

Nicholas: Tell people that this play has anything and everything, literally, that musical theatre has to offer. Comedy, tragedy, parody, romance, thrills, and of course an amazing score. And they will get it all in two hours!

That sums it up pretty nicely. We’d add in that it also has an outstanding cast, orchestra and crew including:

Jacqueline Fenton (Allen Park, MI) EnsembleIvy Haralson (Belleville, MI) Ron Taylor,Bridgette Jordan (Southfield, MI) Reverend Billy HightowerSara Kline (Madison Heights, MI)Sheriff Reynolds ,Alyssa Lucas (Garden City, MI) MaggieColin Mallory (East Lansing, MI)Pan/DaisyJackson McLaskey (Mt. Clemens, MI) Dr. Thomas ParkerMatthew Miazgowicz(Dearborn, MI) LorraineShane Nelson (Windsor, ON) BudBritta Peele (Harrison Township, MI)Shelley ParkerJonathan Pigott (Wyandotte, MI) EnsembleKelly Robinson (Royal Oak, MI)Meredith ParkerLuke Rose (Harrison Township, MI) Rick TaylorAnthony Scamihorn(Marshall, MI) Mrs. TaylorAnna Seibert (Detroit, MI) Ruthie Taylor/NedNicholas Yocum(Royal Oak, MI) Bat Boy/Edgar.

And on the production side:

Michael J. Barnes (Director), Julia Moriarty (Assistant Director), Jeffrey Michael Rebudal(Choreographer), Daniel Greig (Music Director), Devon L. Hansen (Conductor/Piano), Shane McKeever (Second Keyboard), John Gallo (Guitar), Josh Bartolomeo (Bass), David Zwolinski (Percussion), 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), ShanandAlexandra Stewart (Publicity Manager).

You should definitely go see the Bonstelle strut their stuff, but you have to act quickly, because it only runs two weekends.

“Bat Boy” appears at the Bonstelle Theatre through April 21, 2013. Show times are at 8 p.m. on Fridays and Saturdays and at 2 p.m. on Sundays. Tickets are $20-$25 and are available by calling (313) 577-2960, visiting the website, or stopping by the Wayne State University Theatres Box Office located at 4743 Cass Avenue on the corner of Hancock, inside the Hilberry Theatre. The Bonstelle Theatre is located at 3424 Woodward Avenue, one block south of Mack Avenue at Eliot.

REVIEW: Monstrous Mammals! “Bat Boy: The Musical” at the Bonstelle

Reviewd by Sue Suchyta

Click HERE to read the review on Sue’s blog.

View production photos!

Nicholas Yocum  (center, kneeling) as the Bat Boy and Bridgette Jordan (standing , center) as the Reverend  attend a revival meeting with the townfolk. (Photo by Kevin Replinger)

Nicholas Yocum (center, kneeling) as the Bat Boy and Bridgette Jordan (standing , center) as the Reverend attend a revival meeting with the townfolk. (Photo by Kevin Replinger)

The rock ‘n’ roll show “Bat Boy: The Musical” flies out of its cave and into the Bonstelle to close out the Wayne State University undergraduate theatre’s 2012 – 2013 season.

The musical, first performed on Halloween in 1997, drew inspiration from a 1992 fictional account of a Bat Boy chronicled in the tabloid “Weekly World News.”

“Bat Boy” opened April 12 and runs for two weekends, with 8 p.m. Friday and Saturday shows and 2 p.m. Sunday matinees. The theatre is on Woodward Avenue at Elliot in Detroit.

Tickets are $20 to $25 and are available by phone or online. For more information, call (313) 577-2960 or go to www.bonstelle.com.

When a local veterinarian and his family adopt a boy with bat-like features found living in a cave, residents of their small town become suspicious.

The townspeople exhibit hypocrisy, racism and revenge, which for some lead eventually to understanding, forgiveness and acceptance. The show’s serious themes are interspersed slapstick, surrealism and a campy sense of humor.

There are Biblical allusions, and references to humans exploring their dark side or animalistic urges as they answer the drive to fulfill their needs as a species for food, sex, power and control. The play hints at the need for humans to embrace their basic animal instincts so as a species they will no longer fear their base desires and urges.

The story is many things, and one senses from the beginning that the end will not be happy – this is not a Rodgers and Hammerstein musical. Audiences accept early on that death will happen, there will be sadness, and the survivors will not be celebrants.

It is, however, a different type of show, and well performed. Viewers will either love or hate the storyline; indifference is not an option.

Likewise, the acting and production talent is very much evident.

The Bonstelle cast and production team are top notch. Directed by Michael Barnes, with choreographer Jeffrey Michael Rebudal and music director Daniel Greig, the actors display an energetic devotion to the show, delivering a fast-paced production with strong acting, singing and dancing.

The songs, while well-performed, are not as memorial as musical songs often are; and while rock ‘n’ roll works fine for some musicals, there are not any signature songs that one leaves the theater humming or singing.

Most of the sixteen cast members performed multiple roles and all had rapid, multiple costume changes.

Stand-outs in the cast include Nicholas Yocum of Royal Oak as the Bat Boy, Kelly Robinson as Royal Oak as Meredith Parker and Britta Peele of Harrison Township as Shelley Parker.

Bridgette Jordan of Southfield as the revival reverend, Alyssa Lucas of Garden City as the mayor and Matthew Miazgowicz of Dearborn as Lorraine and other cameo roles are notable as well.

The multi-level set designed by Curtis Green is creative and versatile, segueing from a subterranean cave to a suburban home with a quick flick of the stage magic wrist. Fred Florkowski, technical director, and stage manager Meghan Lynch, contribute to the stage magic as well, with exceptional lighting design by Brian Scruggs.

Kudos to properties master Anthony Karpinski and costume designer Mary Gietzen.

The casting is fascinatingly androgynous, perhaps to remind audiences that humans are merely predatory mammals dressed in pseudo-civilizing sheepskin.

REVIEW: ‘Time Stands Still’ a must-see production

Reviewd by Sue Suchyta

Click HERE to read the review on Sue’s blog.

View production photos!

James (Carl Ghigliazza), Mandy (Maria Radu), Sarah (Sydney Machesky), and Richard (Michael Fisher)Photo: Kevin Replinger

James (Carl Ghigliazza), Mandy (Maria Radu), Sarah (Sydney Machesky), and Richard (Michael Fisher)
Photo: Kevin Replinger

Despite the title, time is running out to see Donald Margulies’ Tony award-nominated “Time Stands Still,” a well-written and acted, thought-provoking production at Wayne State University’s Studio Theatre, 4743 Cass at Hancock in the lower level of the Hilberry Theatre.  One performance, 8 p.m. April 6, remains to see the show. Tickets are $10 and $12, and are available through the Studio Theatre Box Office. Mention coupon code 3CP7 and receive $2 off the price of your ticket. For more information, call (313) 577-2972 or go to www.wsustudio.com.

Directed by Katherine Skortz, the show focuses on Sarah, a photojournalist injured by a roadside bomb. As she recovers, she and her boyfriend, James, try to explain to their friends, Michael and Mandy, the reality of covering tragedies in war zones. Why photojournalists record the events for the world, while non-journalist people might take an immediate hands-on approach to relieve suffering, is a key discussion point for the play’s characters.

Sydney Machesky of Shelby Township is stellar in her performance of Sarah, a photojournalist recovering from serious injuries caused by a roadside bomb. Not only does she consistently portray the physical limitations connected to her recovery, she captures the short tempered personality of someone who has undergone so much stress that they are just barely holding on to a veneer of civility.

Carl Ghigliazza of Southgate is very believable in his portrayal of James, her longtime boyfriend, portraying both guilt at not being overseas with her when she was injured and frustration over Sarah’s insistence on doing a job that constantly puts her in danger, which is as essential to her as oxygen.

Providing a lighter and entertaining counterpart to the two main characters are Michael Fisher of Livonia as Richard, James’ editor, and Maria Radu of Westland as Mandy, Richard’s girlfriend, a young, perky event planner.

Radu remarkably creates a likeable person out of her role, despite the character being much younger and an intellectual lightweight compared to the other three characters. Her naïve optimism and genuine “niceness” creates much of the comic relief in the show, and she shows us how people not in the news reporting business react to the horrors and violence of war and other human tragedies encountered by field reporters.

As Richard and Mandy’s relationship grows stronger over time, more cracks appear in Sarah and James’ bond, even though they try to strengthen it.  Sarah’s desire to return to the field becomes stronger than James’ persuasion to stay safe stateside and start a family with him.

Whether she needs adrenaline, or driven by a career more than maternal urges remains open to the viewer’s interpretation.

“Time Stands Still” runs for one more performance at 8 p.m. April 6, at the Studio Theatre. For tickets or more information, call (313) 577-2972 or go to http://www.wsustudio.com.

REVIEW: ‘Time Stands Still’ at WSU’s Studio Theatre

Review by Patty Nolan, The Examiner

Click HERE to read the review on the Examiner’s website.

View production photos or join the Facebook Event!

Wayne State University’s Studio Theatre is home to the PhD Directors’ Series and a perfect venue for the gifted students in the Maggie Allesee Department of Theatre and Dance.

Sarah (Sydney Machesky) and James (Carl Ghigliazza)Photo: Kevin Replinger

Sarah (Sydney Machesky) and James (Carl Ghigliazza)
Photo: Kevin Replinger

Their newest production is “Time Stands Still,” the Tony-nominated play by Pulitzer Prize-winning playwright Donald Margulies. It’s one of those seemingly simple plays that takes place entirely within the Brooklyn flat of war correspondents and lovers Sarah and James. But the distance we travel emotionally and the complex, contradictory points of view expressed in the dialogue, give this drama a delicate intelligence and unpretentious sophistication.

The Studio Theatre cast, under the direction of second-year PhD student Katherine Skoretz, is most impressive.

The play opens as Sarah (Sydney Machesky), a photo journalist, returns home after being seriously injured by a roadside bomb in Iraq. Her boyfriend James (Carl Ghigliazza) feels guilty about not being with Sarah when she was nearly killed. But he is dealing with his own emotional trauma. Sarah’s scars show. James’ do not. Both are trying to come to terms with their feelings about witnessing outrageous horrors and being required to maintain a professional detachment. Are they helping the victims of these tragedies by getting the story out to the rest of the world? Or are they exploiting the victims for personal gain?

The name of the play comes from Sarah’s description of how she copes with the horror she witnesses as part of her job. When she’s looking at the world through her camera lens, searching for the perfect shot, “time stands still.”

The perspective of these war-hardened journalists is contrasted to that of their friend Richard (Michael Fisher) and his young girlfriend, Mandy (Maria Radu). She is sincere but naïve, and doesn’t understand how Sarah can witness human suffering without wanting to put down her camera and help her subjects. Sarah believes it is up to journalists to show people the truth – the hard reality of what some people endure. Mandy admires the raw beauty of Sarah’s work, but doesn’t know what she’s supposed to with that “truth” except feel bad about it.

“We are a nation born to movement,” Director Katherine Skoretz explains. “We are also a nation of crusaders, believing that we can change the world for the better, even when we aren’t sure how to do that. Our desire to change the world for the better conflicts with our desire to be comfortable. Since September 11 we have seen a massive deployment of Americans trying to make a difference in the world: both soldiers and civilians. In the last couple of years, playwrights, like Donald Margulies, have been writing about what happens when veterans of war zones come home. What does home mean when we’re intimately confronted with what goes on in war zones?”

Ultimately, this play explores the need for home and comfort as weighed against the addictive satisfaction of being the person who can deliver the goods in the midst of imminent danger, chaos and overwhelming human tragedy. Sarah and James are seeking healing together, but where does that healing lead? Should they go back out on assignment in the Middle East, or stay home and build a new, more conventional but safer life? Is it “okay” to choose happiness, or is that even an option when daily horrors continue to disrupt the world?

This thoughtful production of “Time Stands Still” raises important questions without forcing the answers. Sydney Machesky, as the wounded Sarah, finds the right balance of smart and bitchy, tough and vulnerable. Carl Ghigliazza, as James, is the conflicted man who loves Sarah because of her fearlessness but is terrified of losing her. Michael Fisheras Richardis convincing as the average good, informed American guy trying not to feel guilty about choosing happiness. And Maria Radu, as Mandy, gives the play its chief comic relief and, in some ways, its most empathetic and grounded character.

The stellar production company includes Cassandra Maniak (Stage Manager), Amy Schneider (Lighting Designer), Lois Bendler (Scenic Designer), Melissa Hall (Costume Designer), Michael Hallberg (Sound Designer), and Felix Li (Publicity Manager).

“Time Stands Still” runs through Saturday, April 6, 2013. Shows are Thursdays, Fridays and Saturdays at 8 p.m. Tickets are $10 – $12 and are available by calling the Studio Theatre Box Office at (313)577-2972, by purchasing them online, or by visiting the box office in the Hilberry Theatre located at 4743 Cass Avenue on the corner of Hancock. The Studio Theatre is located downstairs from the Hilberry.

‘Bat Boy: The Musical’ opens next Firday!

‘Bat Boy: The Musical’ opens next Thursday! Buy your tickets online!

Join the Facebook Event or check out our photo album. We’ll be updating photos all week as we get ready for this fantastic show!

Bat-Boy-Poster-CLICK