After American Psycho announced their closing date, Kristen and I quickly grabbed tickets on TDF for last Thursday because I’d be away for the rest of the week. I really thought the score, the book, the cast, and the sets and staging was so great. It was a special kind of campy that I’d hoped could find a niche on Broadway.
Well, unfortunately, niches don’t keep shows alive on Broadway and in the black.
I was really thrilled to be able to see it one last time (though, for the record, it was only my second time) and this time it was from the mezzanine so I’d be able to fully see the sets and lighting in all their glory.
And it was glorious. The hardcore fans they’d likely found were there making noise and you could the cast was having a great time. Benjamin Walker had amped up the crazy since the first week of previews and his voice (and body) was in perfect shape.
My favorite song of this score ended up being Killing Spree as Walker sounds great and it’s a particularly hilarious song (aside from the killing).
People say Americans aren’t any where near mature enough to take their mental health seriously and to begin to have an honest conversation about it. Audiences being unwilling to embrace a brutal and bloody show about mental health might be a clue to how very true that is.
RIP, American Psycho.
This is what being Patrick Bateman means to me.
J and I went to see American Psycho on Tuesday night (remember when I waited on line in the freezing cold for like way-too-long?) and I wasn’t sure what to expect. I’d listened to the London cast recording a bunch of times on Spotify and loved a lot of what I’d been hearing, but who knows how it would transfer, right?
I’ve been lurking on the American Psycho Previews thread on BroadwayWorld and the buzz was that the first act was amazing but the second act dragged. I was excited to see how they’d handle the chunks of the book that included the mass murders of numerous prostitutes and how much blood, exactly, would be on that stage. I’d also heard the opening moment of the show was amazing. I was really excited but trying to keep my expectations low, anyways.
The opening moment WAS cool. The stage was filled with smoke and there was screaming, but I wanted it to be more frightening. (Maybe they’ll up the scares during previews.) For those of you who saw the cast perform on The Late Show with Stephen Colbert last week, well, Benjamin Walker is only in tighty-whiteys and looks like he’s eaten nothing but protein shakes since then. He looks good. He describes his morning routine and then the song Selling Out starts.
I know Selling Out wasn’t in the London production and I have no idea how the show must’ve felt without it. It sets the feel for the entire show. These are a bunch of empty, shallow (albeit extremely well-dressed and good looking) people who care about all the wrong things and are extremely annoying.
I digress. Cards was the next great song. Theo Stockman is playing a completely different character from who he has played in the past (Hair, American Idiot) as the obnoxious colleague of Bateman’s Tim Price. J burst into a laughing fit as soon as he spoke his first lines because his voice is just that ridiculous. Another stand out was Drew Moerlein in his Broadway debut as another one of Bateman’s colleagues Paul Owen. He was as smug and overly expressive in that douchey way that only an investment banker on Wall Street can be.
You Are What You Wear was an introduction to the women who (sometimes) occupy these men at night. Helene Yorke as Evelyn (Bateman’s girlfriend) and Morgan Weed as Courtney (Evelyn’s friend) outshine every other female on that stage with their comedic timing and portrayals of these socialites. I don’t think Yorke opened her mouth a single time that wasn’t answered with laughter from the audience.
Side note: Jennifer Damiano plays Bateman’s secretary, Jean, the same way she always plays her roles (Next to Normal being the exception). That said, she didn’t disappoint. Alice Ripley plays Bateman’s mother in addition to two other small roles and she’s great. She’s supposed to be a heavily medicated mother which she’s done before and won for a Tony for it, so: this is basically a walk in the park.
The pre-written songs that Sheik wove into the show were seamless and worked without question. Everybody Wants to Rule the World and In the Air Tonight (this one sounded exceptionally spectacular) fit right in, as does Hip To Be Square at the end of the first act.
The score is so very 80′s and it’s so much fun. Not a Common Man was one of my favorite songs of the first act and I Am Back and This Is Not an Exit were definitely my favorite in the second act. I had I Am Back in my head all day yesterday.
There are LOTS of projections used in the show. And there are two turntables on the stage. Even though Les Miserables is referenced over and over (it was the hot thing in 1989!), the turn tables don’t make it feel like we’re watching Les Miserables at all. Don’t worry. Donald Trump is also referenced probably a dozen times, too, since he was a big thing especially to Wall Street douchebags. Trump is referenced three times as much in the book though. The producers couldn’t have picked a more appropriate time to transfer American Psycho to New York with this reference intact.
So, the gore. There’s not a lot of blood in Act 1. He kills his first person at the end of Act 1 and there’s a decent amount of blood on the plastic scrim. I was really curious as to how they would get through all of the people he murders in the book and they handled it perfectly. Patrick Bateman has really loses his mind by Act 2 and after trying to clear it with a trip to the Hamptons accompanied by Evelyn, he returns to Manhattan (I Am Back) and goes on a killing spree. There’s lots of blood on people and the walls for this. Imagine a pile of dead bodies center stage and that’s how this song ends. It was a perfect way to get through a good 100 pages of the book that describe how he murders dozens of people.
Oh, and the sex. There’s a silly, but hysterical scene in Act 1 with simulated sex between two prostitutes and Bateman with ridiculous projections. I read that lots of people hated this but by the time the end of Act 1 rolls around, you’ve already forgotten it’s happened because you’re enjoying the rest of it so much.
The audience was largely a theatre crowd. You could tell that they hadn’t read the book because they gasped when Bateman invites Jean to his apartment before they see a show. She doesn’t die in the book and she doesn’t even have much of a role in the movie, so they would never have killed her off in this adaptation.
Benjamin Walker was so, so good. He’s a playing a character who is a genuinely bad person but I felt sorry for him at times, especially when he was being ignored. All Bateman wants is to fit in and he feels invisible; that’s just sad. He has a much better voice, in my opinion, than Matt Smith does and I hope they plan to record this soon (as far as I know, they don’t).
It clocked in at 2 hours and 45 minutes, which is long, but the book is 400 pages and a vast majority of it is in Bateman’s mind. When he’s really losing coherence in Act 2, there’s a lot of dialogue to try to express this. He’s covered in blood, dressed in his tighty whiteys and he realizes there’s no way out (This Is Not An Exit). It’s a heavy second act, though I’m not sure what you could cut to make it shorter.
You could say this is a representation of how society in America completely ignore mental illnessif said-mentally ill person has an outward appearance that satisfies us. Even if that person tells us they’re going out of their minds and want to kill people, we’re more likely to say, “great joke!” than take it seriously. Bateman’s pleas for help are ignored by his friends and family.
To say I had a good time at American Psycho is an understatement. Is it a perfect show? No. Is it for everyone? No. I could imagine the New York Times panning it’s non-traditional but I hope word-of-mouth and the cult following that the book and movie have can make it a hit.
There was a great energy inside the theatre on Tuesday night and I hope they can sustain the momentum they’ve been building and take your average Broadway audience by surprise.
Someone posted this recently and I was super intrigued. I would think that there are probably other writers out there who have done this but the only one that I’ve read that comes to mind is Emily Giffin. Giffin’s characters are somewhat related in three of her books, but how Ellis put characters from one book into another who supposedly were killed by Bateman in American Psycho is super cool. It actually made me want to read all of his books. But.
I’m currently reading American Psycho…. and it’s a painful read. Bateman and his friend’s shallow materialism and his need to identify where every last item on his person came from is dreadful. I’ve been reading it for a couple of weeks now and I’m only 160 pages in (out of 400-ish). I’m starting to lose hope that I’ll finish it. But I think I have to. i know that I’m not required to finish every book I start but I like to. We’ll see what happens.
In other news: American Psycho the musical is getting pretty good reviews from regular people. I know it’s going to be a super polarizing show (not every one will like a musical about a banker who’s going insane and killing his friends) but I read that the first look you get in the show is amazing and so far everything is impressive. Currently it’s super long (just under 3 hours) but I’m sure they’ll cut it down a bunch before April 5th.
I’ve been sort of excited to see American Psycho ever since I saw the video of their press preview. The music sounds different, the choreography looks fun, and who doesn’t love Benjamin Walker? I sure do. So, when it was sort of quietly announced that they were selling tickets for $19.89 (for the year 1989 when the play takes place) for six preview performances, I was instantly interested in heading down on a Saturday morning. I’d mentioned it to Matt a couple of days prior at Eclipsed and he said sure, let’s do it.
We met up at 9:30am on Saturday morning to a line that went down 45th Street to 7th Avenue and turned towards 44th Street. We got on the line right as it turned onto 7th so we figured there were probably 100 people in front of us and it shouldn’t be too bad of a wait since the box office was opening in 30 minutes.
Did we ever misjudge the situation. The line took FOREVER. We didn’t buy our tickets until 12:45pm. Also: it was freezing. It was something like 32* out and I was wearing really inappropriate shoes. We took turns hopping into Junior’s and the Booth Theatre’s lobby to keep warm because I’m not lying when I say it was really fucking cold.
They’d really made shitty usage of the box office. I honestly don’t think they were expecting this many people to show up. They could’ve fit probably two dozen people in it but with the way they chose to wrap the line, there were 5 people inside of it at a time. When we finally were standing under the marquee, when it was fairly obvious what we were waiting for, I started telling passerby that we were waiting in line for tickets to a Trump rally. They believed us, no questions asked, and we died laughing.
We purchased our orchestra seats for the preview performance on April 5th and happily made our way to our respective homes and warmed up. It was worth it this time, but I will never do this again in the winter.
Last Sunday, my friend Kristen and I ventured out in freezing temperatures to see Cat on a Hot Tin Roof. It was also Super Bowl Sunday (which no one really cares about, right?) so we thought the perfect was to celebrate would be to experience some classic Tennessee Williams. After successfully purchasing rush tickets, we made our first stop to warm up and hydrate: Little Town (on Restaurant Row). This is one of my favorite places, but it was, very inconveniently, out of almost everything that day. Luckily, they still had wings, and pretzels, and beer.
They were delicious. We were happy (happy meaning warm and fed). Since we were seeing a three-hour play, we went to caffeinate at Starbucks. We became even happier.
Finally three o’clock rolled around and we took our side-orchestra seats. We were on the house-left side and although I believe these are sold as ‘partial view,’ there’s really nothing partial view about them. If you’re rushing Cat on a Hot Tin Roof, I suggest you request house left. The action takes place almost entirely center stage anyways.
This revival of Cat on a Hot Tin Roofis superior to the 2008 (?) revival in every single way. I remember being completely underwhelmed at the Broadhurst Theatre when I saw it (but lets be clear that I just remember being there – the production was so unremarkable that I can’t recall anything about it).
The set is breathtaking and actually resembles a plantation home. The sound and lighting designs are equally as lovely, and effective.
The cast? Also: Wow. Everyone knows that Benjamin Walker is pretty and can sing, but Act II of Cat proves that the boy can act. He goes at it with Ciaran Hinds for almost the entire second act and they’re both amazing. I was a huge fan of Ciaran Hinds in The Seafarer and he doesn’t disappoint in this either. He has a huge stage presence that makes you know instantly why everyone calls him “Big Daddy.” While I Debra Monk is fantastic, she once again played the same kind of character she always does: the scattered wife.
And then there’s Scarlett Johansson. She’s gorgeous, and I enjoy her in movies, but could she act on stage? I had missed by a hair her performance in A View From the Bridge so this was my second chance. Yes, she very much can act. I never once doubted her character, or the choices she made onstage. After her performance in Act 1, we were left feeling a bit, “That was awesome, but we want more Scarlett!” after the mostly-Scarlett-less Act 2. But in all seriousness, she was wonderful.