(Cover Photo: The touring CAST of the musical  "BAT OUT OF HELL: THE MUSICAL" by Jim Steinman at the Boch Center Wang Theatre in Boston, MA. April 25, 2026. Photo courtesy tour website)

By Kevin T. Baldwin

METRMAG Reviewer

# 774-242-6724  

“If you don’t go over the top how are you going to see what’s on the other side?” 

                                       - (“Sloane”) /  Jim Steinman

Boch Center Wang Theatre

Presents Jim Steinman's 

"BAT OUT OF HELL: THE MUSICAL"

One Night Only!

Book, Music and Lyrics by Jim Steinman 

Book and Directed by Jay Scheib 

Orchestrations by Steve Sidwell 

Musical Supervisor and Additional Arrangements by Michael Reed 

Music Director Greg Paladino

Cast Includes: Travis Cormier as “Strat,” Carly Burns as “Raven,” Travis Cloer as “Falco,” Tori Kocher as “Sloane,” Tamara Denecia Daly as “Zahara,” Kris Bona as “Jagwire,” Paige Anne Mills as “Valkyrie,” Trevor Groce as “Tink,” Conor Crowley as “Ledoux,” Reece Duncan as “Esquivel,” Bethany McDonald as “Mordema,” Jocelyn Darci Trimmer as “Scherrzo,” Sydney Rose as “Vilmos,” John Zamborsky as “Denim,” Harry Faal as “Hollander,” Tom Samuels as “Astroganger.”   

Additional Creative Team: 

North American Tour Director - Jay Scheib; Associate Director - Tiernan Tunnicliffe; Additional Choreography - Xena Gusthart; Associate Music Director / Keys 1 - Luke Molloy; Music Contractor - Talitha Fehr; Casting Agent - Kate Lumpkin, CSA (Kinlore Casting); Set Design - Ed Pierce; Associate Set Design - Kelly Pooler; Video/Projection Design - Shawn Duan; Production Video - Tristan Van Tine; Video Programmer - Scott Leff; Lighting Design - David Rees; Audio Design - Colle Bustin; Costume Supervisor - Matthew Solomon; Keyboard and Percussion Programming - Beto Bonzález; Dance Captain - Paige Anne Mills; Resident Director - John Zamborsky; Fight Captain - Reece Duncan; Set and Costume Design - Jon Bausor; Original Costume Design - Meentje Nielsen; Video and Projection Design - Finn Ross; Lighting Design - Patrick Woodroffe; Sound Design - Gareth Owen;  Wig Design - Linda McKnight.

Performance:

April 25, 2026 

BOCH CENTER WANG THEATRE, 270 Tremont Street, Boston, MA. 02116 

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(Please note: This review is of a performance that has already passed but is of a production still on tour)

(Warning: The following review contains spoilers)

Two things I pointed out to my wife after leaving the Boch Center Wang Theatre performance of "BAT OUT OF HELL: THE MUSICAL":

• The cast involved should put in a claim to FEMA for disaster relief.
• The estate of J.M. Barrie has grounds for a lawsuit.

 About 30 years ago, I was anxious to do my own musical adaptation of the 1977 album "BAT OUT OF HELL" but once I learned there was going to be a sequel to the now iconic record, I abandoned this pursuit. 

When it was announced about 10 years ago that "BAT OUT OF HELL: THE MUSICAL" was about to become reality, a friend of mine reminded me of my attempt, but I offered that this adaptation would probably be more successful than anything I could have ever come up with. 

After seeing the show, I now sincerely doubt I could have successfully eliminated any fond recollection I had of the album as well as this production attempts to do. 

Once referred to as “the greatest ever composer of symphonic rock" (by writer Paul David Stenning), Jim Steinman (1947-2021) left an indelible musical legacy. 

However, Steinman’s own "BAT OUT OF HELL: THE MUSICAL" gives it one hell of a try. 

Now, from the outset I want to point out just how much I adore the works of Steinman. 

Steinman was one of the most prolific composers who crafted “epic level” love songs performed by superstar acts such as Celine Dion, Air Supply, Cher, Barry Manilow and, of course, Meat Loaf. 

Included in the show are a treasure-trove of iconic songs including: "You Took the Words Right Out of My Mouth (Hot Summer Night)," "I'd Do Anything for Love (But I Won't Do That)," "Two Out of Three Ain't Bad," "Making Love Out of Nothing at All," a nice rendition of "Objects in the Rear View Mirror May Appear Closer Than They Are" and the obligatory "Paradise by the Dashboard Light" among others. 

Sounds great, doesn't it? I thought so, too.

So, I had high hopes that this “jukebox musical” would (at least) not be as wretched as others I have reviewed in the past, certainly not as bad as the abysmal 2016 touring production of “Saturday Night Fever” which I reviewed when it played at the Hanover Theatre in Worcester. 

In that 2016 review, I pointed out how the “structure of this show is so bad that the lack of effort is insulting. Apparent is the overall intent of producers to capitalize on the financial success of other ‘jukebox musicals’ like ‘MAMMA MIA’…it appears whoever was involved in the adaptation reached a point where they could have cared less to make it any better...” 

As it turns out, I may owe that touring company a (slight) apology (very slight) as they were nowhere near as bad as "BAT OUT OF HELL: THE MUSICAL" (close – but not as bad). 

Consider this: 

People were walking out of the April 25^th Boch Center Wang Theatre performance nearly 15 minutes into the show or did not return from after intermission - and reasons could span from the sheer unlistenable volume level used for the music in the show to the simply inane plot. 

It certainly had nothing to do with the ensemble involved, all of whom are powerful singers and exemplary performers, but even some of them showed visible signs of just not wanting to be in this show at times. 

(Photo: Katie Tonkinson as "Raven" and Glenn Adamson as "Strat" in a moment from the musical  "BAT OUT OF HELL: THE MUSICAL" by Jim Steinman at the Boch Center Wang Theatre in Boston, MA. April 25, 2026. These roles are currently being played by actors Travis Cormier as “Strat” and Carly Burns as "Raven." Photo courtesy tour website)

"BAT OUT OF HELL: THE MUSICAL" would be perfect playing at amusement parks or casinos where theatre etiquette is abandoned, because people would be able to come and go as they please because, honestly, some would be finding themselves wanting to (rather) hit (repeatedly) the concession stand or slot machines than sit through two hours of this mess. 

And I wish I could put the blame on someone other than Steinman, but he provided the book, the music and the lyrics for this entire show, aided by the show’s original director Jay Scheib. 

However, similar to “Saturday Night Fever,” where the creatives involved seemingly missed the mark (or just didn’t give a damn) is that any jukebox musical construct needs to support the source material with a storyline or premise that makes sense and here it doesn’t. 

It seemed Steinman would do anything for the love of his songs…but he wouldn’t do that. 

"BAT OUT OF HELL: THE MUSICAL" is partly based on Meat Loaf’s "BAT OUT OF HELL" trilogy of albums, of which Steinman wrote nearly all the songs. 

The general look and vibe presented in the musical makes it seem as though producers wanted to mash together production elements of “RENT” and “HADESTOWN” with an homage to the “Peter Pan” story. 

Steinman once pointed out how “Peter Pan” inspired some of his songs on the first 1977 "BAT OUT OF HELL" album – but trying to make it work literally is a complete and embarrassing misfire, as the “homage” to J.M. Barrie’s “Pan” is idiotic at best. 

"BAT OUT OF HELL: THE MUSICAL" debuted in England in 2017 but it’s history goes back even a bit further – all the way back to the year after the so-called “Summer of Love.” 

Apparently, in 1968, while attending Amherst College, Steinman began a rock musical entitled “The Dream Engine,” originally set in California but containing many similar plot points used in what would ultimately become "BAT OUT OF HELL: THE MUSICAL."

“The Dream Engine” evolved into a J.M. Barrie-inspired musical called “Neverland,” which never materialized as Steinman was unable to secure the rights from the J.M. Barrie estate. 

How the estate gave a pass to "BAT OUT OF HELL: THE MUSICAL" is anyone's guess but really, go see "FINDING NEVERLAND" if you want a good adaptation of "Peter Pan."

Similar attempts would follow after the Steinman/Meat Loaf album success of "BAT OUT OF HELL." 

(Photo: The touring CAST of the musical  "BAT OUT OF HELL: THE MUSICAL" by Jim Steinman at the Boch Center Wang Theatre in Boston, MA. April 25, 2026. Photo courtesy tour website)

The musical begins set in a post-apocalyptic Manhattan, re-named “Obsidian” for no apparent reason, and run by tyrannical ruler Falco (Travis Cloer, as in “Mr. Darling/Captain Hook”). 

Strat (Travis Cormier), leader of 'The Lost' (yes, as in he is “Peter Pan” to their “Lost Boys”), has fallen in love with Raven (yes, as in “Wendy”, played by Carly Burns), daughter of Falco and his thrill-seeking wife, Sloane (Tori Kocher as in “Mrs. Darling/…Smee?”). 

While Cormier is a fine singer, on nearly every song he is drowned out repeatedly by the supporting ensemble. 

Cloer and Kocher are terrific singers tasked with one of the most anticipated songs in the show "Paradise by the Dashboard Light," performed with an incorporated sadomasochistic bondage-slant that is pointless and adds nothing to the song. 

'The Lost' is a group of teenagers whose DNA froze at 18-years-old after an earthquake and cave-in, causing them all to remain young forever. 

Since her DNA is not frozen, Raven will age normally. 

That’s really all you have to know about the story – the rest you’ll be able to figure out if should you be unable to avoid sitting through this terrible show. 

Burns as Raven nails her rendition of one of the show’s best songs, the Celine Dion classic "It's All Coming Back to Me Now." 

Two ensemble performances worthy of note are Denecia Daly as “Zahara” and Kris Bona as “Jagwire” who together do a fine duet of "Two Out of Three Ain't Bad" and provide a lot of vocal support for a multitude of songs.

Serving in a similar capacity is Conor Crowley as “Ledoux” who, along with Kris Bona, offers stunning vocals on "Objects in the Rear View Mirror May Appear Closer Than They Are."

There is some fine use of choreography in the show which occasionally distracts from events happening on stage - this, in some cases, is not a bad thing. 

If you cannot avoid seeing this “HELL”-ish tour, I recommend you get comfortable, (where applicable) turn down your hearing aid, (completely) turn off your mind and simply enjoy the songs, which, again, are presented well.

Otherwise, should "BAT OUT OF HELL: THE MUSICAL" fly into your local theatre and you find yourself with the opportunity to attend, it is almost guaranteed that after 15 minutes there will be some of you wanting to exit that theatre like a...well, y'know. 

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Approximately two hours, 30 minutes with one intermission

Kevin T. Baldwin is a member of the American Theatre Critics Association (ATCA) 

@MetrmagReviews

@Theatre_Critics

ABOUT THE SHOW

A colorful and energetic show for people of all ages!

Get ready for the ultimate rock experience as "BAT OUT OF HELL: THE MUSICAL" roars back to North America in 2026! 

The iconic music of Jim Steinman and Meat Loaf will once again shake the stage, delivering an electrifying journey that will ignite your love for rock like never before. 

This heart-pounding experience, with a powerhouse eight-piece live band on stage, delivers a new production with sprawling multi-level platforms to transport you from Raven’s bedroom to the underground world of the Lost in a visual feast that pushes the boundaries of live theatre. 

Featuring songs from one of Meat Loaf’s best-selling albums, "BAT OUT OF HELL," this cast will bring these anthems to life, including "I’d Do Anything For Love (But I Won’t Do That)," "Paradise By The Dashboard Light," "Two Out of Three Ain’t Bad," "Dead Ringer For Love" and, of course, "BAT OUT OF HELL."

Brace yourself for a legendary night of rock ‘n’ roll as "BAT OUT OF HELL: THE MUSICAL" explodes back onto the stage, promising a spectacle that will leave you breathless!

ABOUT THE WANG AND SHUBERT THEATRES

Just as the city and audience have evolved with the times, the Boch Center, as guardian of the WANG and SHUBERT THEATRES (and from 2012-15, the Center also managed the historic Emerson Colonial Theatre), has changed to meet the needs of its community. Uniquely using a Balanced Scorecard (a Fortune 500 management framework), strategy map, and strategic dashboard, the Boch Center ensures that our Theatres and programs stay relevant to the community we serve. Today, the Boch Center is considered a best practice institution and nonprofit arts leader. With the belief that arts make and keep us a civilized nation, the Boch Center is dedicated to providing high-quality, diverse and culturally relevant arts and entertainment, and arts education programming for New England residents and visitors.

ABOUT THE BOCH CENTER

The Boch Center is one of the nation’s leading nonprofit performing arts institutions and a guardian of the historic WANG and SHUBERT THEATRES. As New England’s largest cultural venue, the Boch Center is home to theater, classical and popular music, dance, comedy, opera, Broadway musicals, family entertainment, and more. Located in Boston’s historic Theater District, the Boch Center also offers a diverse mix of educational, cultural and community outreach initiatives, including the City Spotlights Leadership Program and the Folk Americana Roots Hall of Fame; collaborates with artists and local nonprofit arts organizations; preserves historic venues; and acts as a champion for Greater Boston’s arts and cultural community. 

Learn more at bochcenter.org