Get ready for a musical experience that will leave you questioning reality! American Psycho, the darkest musical to grace London's stages, is back with a bang.
Imagine a scene where two bloodied women, elegantly dressed, their legs twitching on a sofa, set the tone for a stylish yet disturbing crime scene. This is the world of American Psycho, a musical adaptation of Brett Easton Ellis' controversial novel.
First premiered at the Almeida Theatre 12 years ago, this production returns under the reign of artistic director Rupert Goold, who brings a unique twist to the story. Ellis' novel is an intense journey into the mind of Patrick Bateman, a Wall Street banker with a violent streak. Goold's interpretation smooths out the rough edges, presenting a sleek and stylish exterior.
The set design by Es Devlin, who later worked with Beyonce, transforms the Almeida into a glamorous 1980s New York nightclub. With an LED floor and distorted video, it's a visually stunning experience.
But here's where it gets intriguing: the protagonist, played by Arty Froushan, is anything but slick. His character, a gawky and surprisingly likeable Bateman, struggles to keep up with trends, from business cards to dining choices. He's obsessed with his secretary, Jean, and exhausted by his girlfriend, Evelyn, who hilariously overlooks his murderous tendencies.
Goold's production teeters on the edge of 1980s kitsch, with songs by Duncan Sheik that cover key themes like fashion and business. The psychological depth of Spring Awakening is missing, but the 1980s bangers on Bateman's Walkman playlist add a unique twist.
Sheik's score reveals its dark heart in the second act. Songs like "Killing Spree" and "Clean" create an eerie atmosphere, while the torch song finale, "This Is Not An Exit", leaves you questioning Bateman's existence.
"I simply don't exist," Bateman sings, casting doubt on the murders and chaos. Are these violent acts just fantasies? Ellis' book leaves it open, and Goold's interpretation leans towards Bateman being a lost fantasist.
The choreography by Lynne Page adds to the dream-like quality, with murder scenes becoming journeys through psychological landscapes.
But here's the part most people miss: this show's ending leaves a bitter taste. Are Bateman's misogynistic fantasies an understandable response to late capitalism? It's a controversial interpretation that leaves the audience questioning the show's message.
Despite the uncertainty, the impact of American Psycho is undeniable. It's a unique, icy take on a peppy genre, and you won't find another musical like it in London.
So, what do you think? Is American Psycho a brilliant exploration of the human psyche, or does it glorify violence? Let us know in the comments!
