American Psycho is a musical with book by Roberto Aquirre-Sacasa, and music and lyrics by Duncan Sheik. The musical is based on the 1991 novel by Bret Easton Ellis, which was also adapted for film in 2000. The musical had its world premiere in London in 2013, debuted on Broadway in 2016 and made its Australian premiere at the Hayes Theatre in Sydney in 2019. American Psycho is the premiere production by See You Sunday.
Set in Manhattan, New York in the late 1980’s, American Psycho tells the story of Patrick Bateman, an intelligent 26 year old investment banker, who is meticulously tidy and obsessed with his appearance, highly competitive and driven to succeed no matter the cost. Relationships in Patrick Bateman’s life are superficial. Bateman cares more about wealth and materialistic possessions than he does for relationships. He consumes women, not loves them. Basically, Patrick Bateman is a psychopath, a condition that ultimately leads him to act on his lust to kill the people in his life that he believes the world can manage without.
American Psycho is considered to be horror comedy: very dark satirical comedy. The graphic content of the novel resulted in the book being banned in some countries, and sold shrink-wrapped with an 18+ rating in others. The movie was also given an R rating. The musical, however, is simply listed as being suitable for ages 16+, and not actually restricted to a certain age. It’s surprising how some exaggerated performances with bright song and dance routines can make what is essentially an horrific story line suddenly seem not just palatable, but potentially even entertaining. And there it is – the premise of American Psycho. A meticulously groomed, successful young business man may just be able to get away with murder. Well, maybe?
Bret Easton Ellis, the author of the original novel American Psycho has stated that he deliberately created ambiguity in the story line and never actually decided whether Patrick Bateman was indeed an actual killer or if it was all in his mind. Mary Harron, director of the film version suggests that at least some of the murders did happen. In his program notes for this musical production, Director Mark Taylor simply states, “There is only one thing I want you to keep in mind as you watch this performance. The entire production is seen through the eyes of Patrick Bateman.”
In his professional debut, Conor Beaumont gives a commanding performance as Patrick Bateman. Beaumont is frightfully convincing in his portrayal. He oozes a ruthless confidence, but with enough sophisticated charm that makes the story line plausible.
Sam Ward matches that confidence in his role as Paul Owen. In fact, he very appropriately, adds just a little more confidence and a little more charm to his performance, perfectly creating the nemesis to Patrick Bateman. Everything about Paul Owen is just a little bit “better” than what Patrick Bateman can do – even his business cards look better.
Jordan Malone is outrageously excessive as Evelyn Williams. Her exaggerated performances inject considerable humour into what is essentially a very dark and heavy story.
Montana Sharp is delightful as the sweet and innocent, Jean – perhaps the only “normal” person in the whole story. In an environment where people are driven by consumerism and material wealth, and where relationships are shallow, the character of Jean provides the contrasting balance.
The supporting cast of Jake Ameduri, Ellie Nunan, Carla Venezia, Elaina Bianchi, Aaron Robuck, Dan Ham and Lauchlan Mant all deliver excellent performances in a variety of roles. Aaron Robuck is also co-Producer and Musical Director for the show.
A quality set design by Harry Gill makes clever use of the performance space of Chapel Off Chapel, aided by an excellent lighting design by Sidney Younger. Marcello Lo Ricco’s sound design provides a crisp sound and ensures the story is clearly told. Onstage video design by Chris Anderson and Mark Taylor adds an extra layer of depth and consideration to the story.
A fabulous costume design by Jessamine Moffett immediately transports the audience back to the excess of the late 1980’s.
Choreography by Sophie Loughran is filled with high energy routines and well executed by the talented cast.
American Psycho could have remained a story of the late 1980s, and as a musical risked almost being a parody of the film, but references to Donald Trump and his quotes from “The Art of the Deal” ensure the audience is connected back to the present day with a thudding jolt. The numerous quotes about success are particularly chilling when the author is noted; quotes by Adolf Hitler, Benito Mussolini and Donald Trump.
As a musical, American Psycho has more comedic moments than the film version. Director Mark Taylor, has delivered a show that entertains, then makes you question the appropriateness of being entertained. The cast received a standing ovation from the opening night audience, and indeed, the production was slick, energetic and well executed. But so too were the murders committed by Patrick Bateman. Regardless of whether you decide if Patrick Bateman actually committed any of the murders or merely just imagined them, if we come away simply applauding a great performance without considering the content and it’s application to our current world’s consumerism and lust for greed and power, then perhaps we are no different to the people in Bateman’s life, or indeed Patrick Bateman himself? American Psycho will linger well after you’ve left the theatre and perhaps never answer all the questions it raises. If it shocks more than it entertains, then it has succeeded.
American Psycho is now playing at Chapel Off Chapel for a limited season https://chapeloffchapel.com.au/show/american-psycho-the-musical/
Photo credit: Matthew Chen
