Remember when fake news was simply freakish entertainment? When the Weekly World News had run dry on its long streak of ‘Elvis Is Alive’ stories, editorial staff member Dick Kulpa came up with ‘Bat Child Found in West Virginia Cave.’ When the story ran in June, 1992, Weekly World News sold 975,000 copies.
Other ‘Bat Boy’ stories followed about how he escaped authorities, including one about driving a MINI Cooper while being chased by police. In fact, the FBI once asked the tabloid to retract an article because their offices were inundated by calls urging authorities to release ‘Bat Boy,’ who had become the ‘crown jewel of Weekly World News.’
Recalling how ‘Bat Boy’ was created by accident after editors had asked for a space alien rendering, Kulpa said, ’I see Bat Boy as more like the It’s Alive baby. He’s strangely vicious yet lovable.’
Extracting the best elements of escapist entertainment, Salt Lake Acting Company’s (SLAC) reprisal of Bat Boy: The Musical is satisfying indulgence, with great performances across the board. Put another way: one can be a connoisseur of fine cheese but once in a while a Philly cheesesteak with Cheez-Whiz is like manna from heaven.
The 1997 musical, with story and book by Keythe Farley and Brian Flemming and music and lyrics by Laurence O’Keefe, is definitely a flattering homage to Weekly World News’ ‘Bat Boy’ franchise. Eric Sciotto, director and choreographer for the SLAC production, has it right: an operatic tale laced throughout with comedy and with a soupçon of Phantom of the Opera and Don Quixote vibes.
With outstanding vocals, Julian R. Decker captures the anti-hero provenance of ‘Bat Boy’ that resonates with its creation. Decker reminds precisely of Kulpa’s description of the half-human, half-bat as “a staunch defender for the innocent, but he could also be one hell of an asshole.” The alternating tones of ‘what am I doing here?’ and ‘get me out of here’ come through clearly in his performance.
Robert Scott Smith, who was Bat Boy in the 2003 SLAC production, returns as the nemesis of Dr. Parker, in a devilishly sardonic interpretation. Likewise, Adrien Swenson and Jackie Marshall, respectively, as Meredith Parker and Shelley Parker, fit their roles in excellent performances. The remaining actors’ ensemble for this show is dynamite and ferociously good: Chris Curlett, Timothy Feroah, Scotty Fletcher, Doug Irey, Micki Martinez and Justin Ravago.
Considering that the musical score is generally anodyne, the live ensemble for this SLAC production does yeoman’s work in pulling out as much as possible and punching up its visceral feel. The musicians are impeccable in this task, with conductor and keyboardist Alex Marshall, who is joined by Zach Hansen (keyboards), Jeff Jensen (bass), Andrey Reyes (guitar) and Wachira Waigwa-Stone (drums).
by Keythe Farley, Brian Flemming and Laurence O’Keefe,
directed by Eric Sciotto, Salt Lake Acting Company.
Photo: Todd Collins Photography.
There is little more that needs to be said about the show’s story. SLAC frames it appropriately: a nostalgic confection about a time when fake news was not the malevolent monster it has become. In a 2017 interview with Vice, Kulpa said with prescience, “Look at the shape the world is in. Maybe it needs Bat Boy to straighten it out. Maybe he reflects the deep-down feelings of millions, if not billions, of people on this planet. With everything, we’re slaves. I think it’s more true than it was then. I see these kids suffering, working these nickel-and-dime jobs with no insurance.“ He recalled, “In my day, we could move up. I see these kids working these same jobs five years later. I worked at restaurants too. I’m a caricature artist. I appear at restaurants.”
The quirky sense of pathos which draws us to Bat Boy is evident in this smartly designed production. We laugh and revel justifiably in this splendid SLAC performance. But, we also desperately wish for a time when monsters were just the creations of cartoonists and illustrators instead of the real ones who are bent on wrecking as many lives as possible.
Performances continue through May 4 at SLAC (168 West 500 North, Salt Lake City). For tickets and more information, see the SLAC website.