Venue: Hayes Theatre Co (Potts Point NSW), May 10 – Jun 9, 2019
Book: Roberto Aguirre-Sarcasa (based on the novel by Bret Easton Ellis)
Music & Lyrics: Duncan Sheik
Director: Alexander Berlage
Cast: Blake Appelqvist, Erin Clare, Shannon Dooley, Ben Gerrard, Eric James Gravolin, Amy Hack, Loren Hunter, Julian Kuo, Kristina McNamara, Liam Nunan, Daniel Raso
Images by Clare Hawley
Theatre review
Bret Easton Ellis’ seminal 1991 novel American Psycho encapsulates a kind of sickness that had emerged from 1980’s capitalism. The story of exemplary yuppie Patrick Bateman was a wild indictment of Western culture at the time, one obsessed with prestige and facade, centred around the mythical Wall Street model of success. Evil personified, he served as an icon of all that had hitherto gone wrong, a monster materialising not from supernatural realms, but borne out of economic reality. The book’s detailed and extreme violence sparked great outrage, but the unassailable truths behind Ellis’ extravagant depictions, have made it a classic that remains pertinent three decades on.
Roberto Aguirre-Sarcasa and Duncan Sheik’s musical version is understandably much more tame in comparison, but thanks to the extraordinary characters and narrative it inherits, the show is still able to captivate, even if Sheik’s original songs are at best mediocre. It must be noted however, that musical direction by Andrew Worboys succeeds masterfully, at elevating these show tunes, turning very average melodies and lyrics into genuinely exciting numbers. Visual design too, is remarkable. Isabel Hudson’s revolving stage and butchers-style strip curtains are high gloss and very sexy, and even though slightly noisy at times, their theatrical effect is truly marvellous. The stage management team, headed by Brooke Verburg must be congratulated for their super smooth execution of mind-boggling logistics, most obviously in terms of performers’ complicated entrances and exits, all flawlessly enacted to quite magical results. Choreographer Yvette Lee demonstrates exceptional attention to detail and a highly sophisticated style, that bring the stage to flamboyant life.
Director Alexander Berlage’s lighting design is suitably sleek, and highly evocative. Along with Mason Browne’s costumes, they establish an aesthetic that is as much about contemporary fashion as it is about the 80’s; alluring, colourful and ostentatious, and ambitious like Patrick. Berlage’s direction of the piece certainly corresponds with his protagonist’s love of the surface. First half is all frothy and camp, a queer interrogation into toxic and hyper masculinity, that sits well within the musical genre. American Psycho‘s notoriety means that we know the tale to be terrifyingly macabre, but the production’s obsession with portraying a vacuous culture, can feel more bubblegum than menacing, although at no point is it ever less than fabulously entertaining. Second half becomes much more satisfying, as things get sinister, as we approach the true horror of the story.
Performer Ben Gerrard may not be entirely convincing as the demonic American, but the intelligent commentary he infuses into every line and lyric, every glance and gesture, ensures a resonance that communicates on levels beyond the obvious. We are repulsed by Patrick, but Gerrard’s charm keeps us attentive. Without a moral to its story, American Psycho is only obscene, and our leading man’s admirable efforts at driving home the message, represents the show’s beacon of integrity. Memorable supporting players include Liam Nunan whose turn as Luis, the closet homosexual, proves to be as comical as it is heartbreaking. Loren Hunter has the unenviable task of playing Jean, the dowdy secretary who falls in love with Patrick, a difficult role that she, quite miraculously, makes believable and empathetic.
Patrick, at twenty-seven, is a big fan of Donald Trump. The role models we choose, are a direct reflection of our values. Unable to see past the superficial glamour of the rich and powerful, Patrick invests his entirety to the pursuit of money and status. Morality is irrelevant. Today, Trump is President. It would be erroneous to imagine that all 63 million who had voted for him are devoid of morality, but these numbers tell a symptom that we would be remiss to ignore. Over the course of time, virtues are constructed, and re-constructed. In 1991, American Psycho controversially appeared as a cautionary tale of sorts. In 2019, the yuppies are nowhere to be seen yet we only have to look in the mirror to wonder, if resistance against greed is always futile.
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