Bat Out of Hell – Edinburgh Playhouse

Walking into the Edinburgh Playhouse, I wasn’t entirely sure what to expect from Bat Out of Hell. I’d heard the rave reviews and knew of Meat Loaf’s legendary anthems, but would it translate into a compelling night of theatre? As I was not familiar with the story, I had my doubts but by the time the final note rang out, my question was answered with a resounding yes!

Right from the opening moments, the show makes its intentions clear: it’s big, it’s bold, and it’s not afraid to embrace its madness. Backed by an incredible eight-piece live band, the production hurtles forward at full speed. The stage transforms into a dystopian world filled with rebellion and romance, brought to life by Jon Bausor’s stunning set design. One moment we’re in dark underground tunnels; the next, a teenager’s bedroom or the looming Falco Tower. And then there’s Finn Ross’ video design—live footage projected onto two massive screens—that turns certain scenes into mini rock music videos. It’s a visual feast.

At the heart of the story is Strat, the leader of the Lost—a group of misfits stuck in a permanent state of being 18. Glenn Adamson absolutely nails the role. He’s intense, raw, and utterly captivating. His voice is incredible too. Instead of trying to mimic Meat Loaf, he makes the songs his own, which feels fresh and authentic. “Bat Out of Hell” was epic, but it was his performance of “I’d Do Anything for Love (But I Won’t Do That)” that truly gave me goosebumps.

Playing opposite him is Katie Tonkinson as Raven, the sheltered daughter of Falco and Sloane, who rule this dystopian world. She’s extraordinary. Her chemistry with Adamson is electric, and her rendition of “It’s All Coming Back to Me Now” was one of those moments where the entire audience collectively holds its breath. Her voice is stunning soaring with heartbreak and longing.

Then there’s Rob Fowler and Sharon Sexton as Falco and Sloane, Raven’s dysfunctional parents. Honestly, they’re show-stealers. They’ve got this darkly funny, over-the-top dynamic that’s hilarious and touching all at once. Their duet, “Paradise by the Dashboard Light,” is an absolute highlight. They know exactly how to balance the campiness of their characters with some real emotional weight. The rest of the cast deserves a mention too.

Georgia Bradshaw (Zahara) and Ryan Carter (Jagwire) bring so much energy and humor, especially during their duet “Dead Ringer for Love,” which had the entire crowd clapping along. Carla Bertran, who plays Tink, was a surprising standout for me. Her vulnerable performance of “Not Allowed to Love” was heartbreaking and gave the story unexpected depth.

What struck me most about Bat Out of Hell was how unapologetically over-the-top it is. The plot is a wild mix of Peter Pan and Romeo and Juliet, and, honestly, it doesn’t always make sense. But that’s part of the charm. The show leans into its outrageousness, and it works. The choreography by Xena Gusthart is packed with high-energy movement that matches Steinman’s larger-than-life music perfectly.

That said, I can see how the story might feel a bit hard to follow if you go in blind. A quick read of the synopsis beforehand wouldn’t hurt—it helps you enjoy the ride without trying to piece together the plot as you go. There were also moments where the pacing felt a little rushed. Songs like “Rock and Roll Dreams Come Through” and “It’s All Coming Back to Me Now” felt crammed into the second act, as though the creators were determined to fit in every iconic hit, even if it meant sacrificing the flow a bit. But, in the end, these are small nitpicks in an otherwise thrilling production.

If you’re looking for a night out that’s more than just a show—something that feels like part theatre, part rock concert—Bat Out of Hell is the perfect choice. Just be prepared to walk out with your ears ringing, your heart pounding, and a head full of Steinman’s unforgettable anthems.

Reviewer: Nazaret Ranea

Reviewed: 6th January 2025

North West End UK Rating: