American Psycho The Musical
Time Out says
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Ben Gerrard will reprise his role as Patrick Bateman alongside a company of new and returning cast members
The madness of last year saw the tables turned on sharp-suited serial killer Patrick Bateman, taking a knife to the planned Sydney Opera House encore run of smash hit American Psycho - The Musical. Now the Manhattan murderer is back with a vengeance, once more played by Ben Gerrard, who cut deep with his darkly comic take on the business card-obsessed maniac in director Alexander Berlage’s celebrated 2019 Hayes Theatre staging.
The razor sharp social satire spun from the Bret Easton Ellis novel and its big screen adaptation skewers toxic masculinity and ‘80s capitalist excess, drenching the Playhouse stage in designer labels, gaudy neon light and probably some blood sloshed on plastic sheeting. The show, which scooped up nine Sydney Theatre Awards for Hayes, will run from June 3-27. It has a book by Roberto Aguirre-Sacasa (Riverdale), music and lyrics by Tony Award-winner Duncan Sheik (Spring Awakening) and pumps to the beat of pop classics from Phil Collins, Tears for Fears and New Order. Pre-sale opens February 10, then all-in two days later.
Sydney Opera House head of contemporary performance Ebony Bott says, “Reimagined through the discerning lens of Alexander Berlage, this dark comedy speaks of power, privilege, narcissism and greed, and encourages us to reflect on whether this darkness exists both within ourselves and the world around us.”
Time Out reviewer Cassie Tongue said of the Hayes run, “Berlage performed a similar spiritual surgery on Cry-Baby last year at the Hayes, draining its excess sentimentality and stitching it back up with queer anarchy to great acclaim. American Psycho is only [his] second musical… but with it he cements his place as a talented surgeon: slicing through unnecessary sentiment to get to the ugly but essential beating heart of the piece.”
She added, “The musical, under Berlage, is more misanthropic than it is misogynist, and everything deemed valuable onstage – looks, wealth, heterosexuality, capitalist greed – is eventually cut down. Bateman (Ben Gerrard, relentlessly tense and charismatic) stalks the stage that turns on a similarly restless revolve. He is a monster of consumption. Aguirre-Sacasa’s book makes some attempt to soften Bateman, but Gerrard bats those moments away; we’re not asked to do the impossible and care for him and the production is better for it.”
Love musicals that were also movies? Check out Young Frankenstein at the Hayes.
|Venue name:||Sydney Opera House|