We have all heard of the musical productions “Wicked,” “Oklahoma!” and “South Pacific.” Now, mix the theme of social acceptance from “Wicked” with your classic Broadway love story, add a little blood and a few shocking twists, and you have “Bat Boy: The Musical.” Well, sort of.
“Bat Boy: The Musical,” which is currently running at the Omaha Community Playhouse, is a new take on the traditional musical. The project was the creative brainchild of Keythe Farley and Brian Flemming, who were inspired by a 1992 Weekly World News tabloid story about a half-boy, half-bat phenomenon appropriately labeled “Bat Boy.”
The musical opens with the discovery and capture of Bat Boy, later named Edgar, in a West Virginia cave by three teenagers. The creature is brought to the local veterinarian, Dr. Parker, to be placed under euthanasia after biting and hospitalizing one of the teenagers. Dr. Parker’s wife, Meredith, begs him to let her civilize Edgar. The rest of the musical examines the relationships that Edgar develops with the Parker family, including their rebellious teenage daughter Shelley, and his introduction to human civilization.
The production, complemented by a stylistically eclectic musical score by Laurence O’Keefe, has made its rounds throughout the world, including off-Broadway shows in New York and shows in London’s West End. It has made its landing in Omaha now as well.
Carl Beck, the artistic director at the Omaha Community Playhouse, said he instantly fell in love with the musical when he first saw it in New York over a decade ago. He said the show presents a unique challenge to the cast and crew, but the team’s level of talent and creativity has helped make this production a success.
Tim Abou-Nasr, who occupies the leading role of Bat Boy, embodies this high level of talent and creativity, as he gives a standout performance that elevates the entire energy of the show. The demanding physicality of Abou- Nasr’s role is evident in acrobatic movements, like hanging upside-down from a 10-foot cage.
The role is also emotionally demanding, since Abou-Nasr effortlessly transforms his character from the screeching and jumping Bat Boy to the refined and British-speaking Edgar. Through this transformation, the audience begins to adore Edgar and even feel a sense of sorrow for him as he desperately attempts to find his niche in society.
Vocally, Abou-Nasr’s deep baritone sound, offset by wailing and screeching in some scenes, has an endurance and range that would be envied by many performers.
Bailey Carlson and Theresa Sindelar, who play Meredith Parker and Shelley Parker respectively, also turn in entertaining performances as they create an interesting mother- daughter dynamic. They feed off one another’s reactions very well, contributing to a dramatic atmosphere tinged with subtle humor. In one particular musical number entitled “Three Bedroom House,” Carlson and Sindelar demonstrate the progression of their characters’ relationship since Edgar came into their lives.
Of course, the leads were not the only ones to “steal the stage.” Bat Boy served as a perfect opportunity for character actors to examine and exaggerate small-town people and life. Scott Fowler plays the rotund and somewhat lackadaisical Sheriff Reynolds, whose little quirks and humorous moments often undercut the drama of a serious situation. Jim Boggess leaps into his role “hootin’ and hollerin’ hallelujah” as Reverend Hightower. His costume, complete with sideburns and shiny shoes, suspiciously resembles that of televangelist preachers these days that often get swept up in a wave of passionate religious fervor during their services.
Overall, the small ensemble’s vocal strength and quality, especially given the intimate theater space, are very impressive. The intimacy of the theater rewards this cast, since many musical numbers like “Inside Your Heart” and “Show You a Thing or Two” are sung outward to the audience. The set is sparse despite the musical’s different locations, so the audience must rely on the actors’ emotions and movements. Even with the simplistic and limited choreography, there is definitely no lack of physical expression, underscoring the imaginative mystery and enchantment of this entertaining, and even heart-warming, tale.
“Bat Boy: The Musical” is playing at the Howard Drew Theatre at the Omaha Community Playhouse. Show times are at 7:30 p.m. Thursday through Saturday and 2 p.m. matinee on Sunday. The musical runs through March 29. Ticket prices are $29 for adults and $18 for students. They can be purchased at the box office or online at www.omahaplayhouse.org.