Review of ‘Bat Out Of Hell’ (2025 tour): “The lost boys have lost it”

The Meatloaf-Jim Steinman musical returns in a new production currently playing in London’s West End before resuming  performances around the country.  Guillermo Nazara shares his views on the show, to let us know if this latest revival comes across as paradise by the dashboard light.

I adore Jim Steinman’s music. I might be slightly obsessed with his work for all I care about. Charming melodies, distinctive sound, signature 7-minute renditions (when it’s the abridged version), and the fact that you could combine I’d Do Anything For Love, Carpe Noctem, and Objects In the Rearview Mirror and make them all pass for segments of the same piece.

Bitter remarks apart, I genuinely admire his legacy. And as I’m penning these lines (well, actually typing them, but poetry runs through my veins), the sirens are screaming, and the fires are howling in my ear. He was more than just a competent composer. He defined a whole new brand within the rock genre. And for that, his repertoire just won’t quit – neither should it. But as for his theatrical magnum opus, especially in its latest form, that I’m not allowed to love.

If you’re familiar with the Coliseum-Dominion extravaganza that landed in the West End a few years ago, you’ll surely remember great sets and terrific voices. And that’s the only thing you’ll remember. But that’s the point of the show. Based on the Meatloaf album series (in turn, a rehash of Jim Steinman’s frustrated attempts to get his post-apocalyptic Peter Pan musical produced), Bat Out of Hell has never excelled in its writing.

It’s a weak story with an even feebler book. There’s no proper structure. The roles are two-dimensional at their best. Many plot elements don’t add up — particularly those concerning the personages’ evolution. And, on the whole, the entire thing feels more like an excuse to gorge on the full Steinman menu (much in the style of its author every time he visited a restaurant) rather than crafting a compelling recount.

But all of that is fair if you know what you’re coming for — and as long as you’re prepared to let your mind wander through minutes and minutes of plot stagnation and character void. Yet, if it has been performed both in London and across the country for several years, there’s a reason why audiences keep flocking in. The problem, however, is that even that reason seems to have vanished.

Don’t expect grandiose designs or lavish stagings — you will not find them. Heaven can wait, and it has, in this last reincarnation of Steinman’s black-leather fantasy (it’s probably not what you’re thinking). There are no words to express what the current show looks like — basically because there’s nothing in it to describe.

A stone-covered tunnel, road-case-made bed, and some fortuitous appearances by the signature car and motorbike props. That’s all we get in this lackluster revival that screams nothing but “for crying out loud” at the top of its parched lungs.

There’s no sense of lush or wow factor — just an ongoing collection of admittedly eye-catching ensemble numbers, which, no matter their flawless coordination, still can’t convey the edgy, underground spirit of the piece. Other than that, the performance feels closer to a tribute concert than a full-scale musical — reinforcing that impression with its generalized use of hand microphones, which only compromises the few acting opportunities the show offers.

Some of the renditions make up for part of those shortages. But a show’s core consists of material, production, and cast. In terms of success, two out of three ain’t bad. One, however, is. Good tunes played by good (sometimes remarkable) singers are the sole chance for those rock and roll dreams to come through. And they do, though not thanks to everyone. In any case, Katie Tonkinson’s portrayal of Raven deserves every praise — posing as the strongest member of the company through her pristine vocals and adequate interpretation.

All revved up in intentions, but with no place to go due to a disappointing execution, Bat Out Of Hell may be all coming back to us now. Yet, this poorly put-together version will likely make even the hardcore fans believe that the piece has got out of the frying pan and into the fire. I love Jim Steinman’s themes – I’ll say it as many times as necessary. And I’d do anything for love. But giving the second watch? Well, I won’t do that.  

All pictures credit to Chris Davis Studio.

Bat Out Of Hell is currently on tour across the UK. Tickets and locations are available on the following link.

By Guillermo Nazara