Premiering last Friday, American Psycho, Artistic Director Rupert Goold’s hotly anticipated revival, has returned to the Almeida Theatre and has already sold out its run. After witnessing this incredible musical in the flesh, it’s easy to see why.
Based on the original 1991 novel of the same name by Bret Easton Ellis, which inspired the 2000 cult film starring Christian Bale, the dark satirical comedy follows Patrick Bateman, a young investment banker working in New York City’s Wall Street, who, dissatisfied with his seemingly perfect life of wealth and flawless appearances, descends into a dark double life as a serial killer.
Es Devlin’s set design is simple yet effective, a blacked-out stage with a few set pieces brought in and out via a stage lift and by the ensemble, perhaps reflecting Bateman’s own feelings of emptiness. John Clark’s lighting truly reigns supreme; LED strip lights illuminate a curtain at the back of the stage, at times reminiscent of a butcher’s curtain, whilst embedded LEDs light up the floor, helping set each scene. The lighting and set worked together in harmony, giving the stage the appearance of an 80s nightclub, everything clean and polished, with a subtle hint of Bateman’s façade, which starts unravelling as the plot progresses.
Arty Froushan as Patrick Bateman delivers a masterclass in performance; he certainly perfected the mannerisms and behaviours of a narcissistic businessman obsessed with wealth, power, and appearance. Froushan unnervingly encapsulates Bateman’s materialistic and psychotic nature from his narrative interruptions detailing brands of items he owns to his detailed descriptions of how he’d murder those around him. Froushan is truly a star and suited this role wonderfully, props to Natalie Gallacher’s incredible casting. A shining moment for Froushan was Bateman’s eventual confession and his realisation that his life is still empty; he sings ‘This Is Not An Exit’, lamenting how he is still trapped in the meaningless world he tried to escape from, whether his actions were real or not.
Froushan is joined by a brilliant supporting cast; Emily Barber plays Bateman’s girlfriend Evelyn, a vapid social climber, extremely well. She easily ignores the warning signs of Bateman’s psychological descent, focusing on herself and maintaining a flawless façade. Anastasia Martin as Jean, Bateman’s sweet-natured and caring assistant, plays the ideal opposite of Evelyn, offering some respite from the other surface-level characters. Other standouts include Daniel Bravo as Paul Owens, Bateman’s detestable colleague who serves as the catalyst to Bateman’s killing spree and Oli Higginson as Bateman’s best friend, Timothy Price, who is almost as narcissistic as Bateman.
Lynne Page’s stellar choreography does a brilliant job of merging fantasy with reality; many of the movements are hard-hitting and unapologetic, incredibly executed by the ensemble, reminiscent of 80s drug-fueled club culture, becoming more and more frantic as the story plays out, mirroring Bateman’s fractured psychological state even more. Page’s choreography paired well with Dan Moss Schreier’s sound design and David Shrubsole’s vocal arrangements, often leaving you unnerved yet glued to the action as it unfolded. ‘Everybody Wants to Rule the World’ led by Anastasia Martin was hauntingly beautiful, and the high energy of ‘Killing Spree’ emphasised Bateman’s fragmented sense of reality.
American Psycho, Rupert Goold’s final show after thirteen years at the Almeida, is the ultimate full-circle moment, and what a show to start and finish his journey there. With so much buzz before its return, this musical certainly lived up to the hype, from its simple yet clever staging and lighting to its incredible cast and score. American Psycho is a great opener to what will likely be a spectacular season for the Almeida Theatre.
American Psycho runs at the Almeida Theatre until 14 March. More information is available here: https://almeida.co.uk/whats-on/american-psycho-2026/
Reviewer: Gemma Prince
Reviewed: 31st January 2026
North West End UK Rating: