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Bat Boy: The Musical

a Musical Comedy
by Laurence O'Keefe, Keythe Farley, Brian Flemming

COMPANY : Dad's Garage Theatre Company [WEBSITE]
VENUE : Dad's Garage Theater [WEBSITE]
VENUE : Woodruff Art Center [WEBSITE]
ID# 639

SHOWING : May 22, 2003 - July 26, 2003



Bat Boy: The Musical (south-east premiere)

Book by Keythe Farley and Brian Flemming, Lyrics by Laurence O'Keefe
Directed by Sean Daniels

Extended to July 26!

The Love. The Romance. The Pointy Ears! New York's Award Winning Off-Broadway Smash Hit that follows the reports in the "Weekly World News" comes home to roost at Dad's Garage. Winner! Best Musical Off Broadway. 2000, Winner! Outer Critics Circle and Lucille and Lortel! 2000

"Discovered in a cave in Hope Falls, West Virginia, this half-bat has escaped from captivity and is currently at large. He can be identified by large, pointy ears and oversized eyes that make him profoundly sensitive to sound and light. The creature has reportedly attacked at least 3 people with his razor-sharp fangs and should be considered extremely dangerous"

May 23rd - June 1st (At Alliance)

June 6th - 28th (At Dad's)
Extended to July 26!
Pay What You Can: June 16th

Sunday: June 22nd

Stage Manager Sloane Warren
Director Sean Daniels
Music Director Sally Preister
Technical Director Jamie Warde
Asst. Director Scott Warren
Master Carpenter Anthony Melita
Cast Chrissie Bielinski
Percussion Mark Biering
Bass Michael Blackeney
Keyboards Karen Huckabee
Meredith Patty C. Guenthner
Bat Boy Clifton Guterman
Shelley Jill Hames
Rick/Daisy/Ned/Alligator Michael Schneider
Sheriff/Pan/shadow puppet voices Travis Sharp
Rev. Hightower/Mrs. Taylor/Roy/Lion Spencer G. Stephens
Mayor/Ron Anne Towns
Ruthie/Bud/Loraine/puppeteer Leslie Truman
Dr. Parker/Clem/puppeteer Geoff Uterhardt
Fight Choreographer Jason Armit
Set Designer Rochelle Barker
Gore Design Chris Brown
Lighting Designer Elisabeth Cooper
Props Designer Oz Dillman
Shadow Puppet Designer Lee Randall
Click to Submit Cast & Crew Info for this production


by Dedalus
Thursday, July 24, 2003
It has been learned by this news organization that pseudocritic Dedalus was recently expelled from a production of BAT BOY: THE MUSICAL for trying to use a maxed-out credit card. This reporter has also learned that this pompous freeloader then went on a screaming rampage, shouting long words that no one understood, and vowing to do more to the Dad's Garage powers-that-be than merely choke his monkey. He was then heard to declare he was going home to wax his cannon in preparation for a full-frontal assault.

Recently contacted at the Look-At-What-My-Toddler-Did-To-Me Rest Home, Dedalus agreed to a short interview:

Q: So, are you going to review the show?

A: It wouldn't be right. I only saw half of it.

Q: But did you like what you saw?

A: What are you, a propaganda agent for Sean Daniels?

Q: Just trying to get the fax.

A: Try working on your comedy. To answer your question, yeah, it didn't suck. I wasn't fond of the music, but I knew that going in -- I've had the CD for over a year or two and am very rarely inspired to actually listen to it.

Q: So the music sucks?

A: Well, no. It's bouncy and hummable.

Q: So you're a liar, too?

A: Nurse! I need my treatment!

Q: Have them up the voltage. How was the cast?

A: Don't you think Jill Hames is a bit past the teenager stage? I thought so, until I saw this -- she convinced me, but then she always does.

Q: And Googie? Was he any good?

A: You know I'm working with his Cole-half on another show, so whatever I say to that will make my life miserable.

Q: What about the Bat Boy himself?

A: Incredible. What he did to his body had to have come from the Torquemada school of posture-building. I know I saw him in another play last year, but I don't think he's really human. Did you notice his resemblance to Bruce Wayne? And have you noticed that there are never any real bats in the theatre when he's on stage? I think that Daniels guy built him in a laboratory and has the real Clifton Guterman held hostage somewhere. That's the only explanation I can think of.

Q: Are you ever going to see the second half?

A: Only if it's extended. And I can come up with the cash. The whole thing was my fault, of course.

Q: But then, it usually is, isn't it?

At this point, Dedalus began to babble incoherent threats and drool, and, frankly, became a little disgusting to be around. As the nurses were leading him out, he was heard to mutter "Sean Daniels thinks he's so big because he insulted Burt Reynolds. I can beat that! I've insulted Atlanta Actors!" I then left the interview and returned to the real world.

-- Brad Rudy (

Dad's Garage Must See
by Mama Alma
Wednesday, June 11, 2003
First let me tell you what I didn't like: I hate the Hertz Stage at the Alliance, and that's where I saw Bat Boy: The Musical. It's like singing inside a lead tank. There's no "bounce" to the room. Please, Susan Booth, the next time Coca Cola gives you a coupla mil, splurge and buy some sound boards for the sides of this room. Else the next person to stage a musical there should be taken out and summarily shot (no offense to Sean or Sally meant, they knew they'd be taking their baby home eventually). The AJC and Creative Loafing both carped on the singing, but I've seen some of these people at other venues, and believe me, it wasn't them: it was the room.

Having said that, Jill Hames can make herself heard in a lead tank. I once heard her, unmiked, in the audience at Art Station, another room which is sound dead. Man, can this girl sing! Where are the record moguls? Golden opportunity here, guys. And cute, so much so, I'm always inclined to spell it kyute, but if I did, my husband would divorce me. She's especially adorable when her Shelley is rapping with Michael Schneider's Rick or frolicking in the forest with Clifton Guterman's Bat Boy.

Geoff Uterhardt is another singer who had no problems with the lead tankiness of the room or the comedic and dramatic challenges of playing Dr. Parker. His is a character driven by unrequited love, unresolved sexual tension, guilt, grandiose ambitions, and probably a little bit of "being the smartest person in the room." Poor Dr. Parker. We're allowed to laugh at him. We're allowed to pity him until he makes it impossible to go any further. And his contribution is crucial, both to Bat Boy's survival and the denouement of the play. With his shaved head "Googie" makes ample use of his pliable features to suggest the many levels of Dr. Parker's dark spiral.

All this hinges on Guterman's ability to make Edgar, the Bat Boy, a believable and sympathetic character. Just talking in the synthetic teeth must have been a challenge (but presented its own set of adorable quirks for the character: one of the things my daughter liked best about Edgar was the way he would close his mouth). Singing must have been well nigh impossible. The bodily contortions the character goes through truly suggest an other worldly creature. I'm sure most of the people on this list are familiar enough with theater to know it's not always the safest profession: the night I was there, Clifton had gotten whacked in the face during one of the blackouts, I think. What I took for makeup was a real shiner. And one of his teeth broke (which he absolutely covered: I would not have known if I hadn't been looking straight at him when it happened), and I never did see how he got it back in. I saw it break, and I saw him calmly palm it. Several minutes later both teeth were back in place. Believe me, his lack of costume left no place for him to carry a spare.

But this sounds terrible, doesn't it? Do you really want to see a play about a half starved, naked, feral creature who can only screech? Aw, the "growing up scene" (sung to "I'll Show You a Thing or Two") was every bit as inspiring as "The Rain in Spain" from "My Fair Lady" and it came at exactly the right time. I needed Edgar to cease to be a pet and become a person, and he did. He became a real person, and I became totally invested in his fate. What an extraordinary transformation through the course of the play, and what an extraordinary performance by Guterman.

Those of you who know me in real life, who know who I am, know that I think everything in life relates back to Buffy and Spike. I'm always taking that out of my reviews before I submit them, because I know that's not true for all people. But come on, a story about a girl and her "bat boy" friend? What does he eat? (Hint, it ain't insects.) The overtones here are too clear to miss. If you're a Buffy and Spike fan, you'll love the forest scene. Here endeth the lesson. [POST A COMMENT REGARDING THIS REVIEW]
Different is Good
by Rosemary
Saturday, June 7, 2003
This was a surprise. After reading the review in the AJC, I wasn't prepared for anything so good. I really loved everything about this. Much of the acting was meant to be funny and silly (it wouldn't be Dad's without that) - but the guy who played Bat Boy was physically incredible. I couldn't believe how good he was! He made the concept of a "Bat Boy" believable. For the most part the singers did well concidering how demanding the score was - with lots of key changes and a wide range. I truly loved the songs. They were beautiful and haunting. I would like to hear them again on CD .

This play is very very different than anything I have seen before - but that is true of so many of the plays at Dads. I guess I just like "different". [POST A COMMENT REGARDING THIS REVIEW]
Imperfect... but a must-see
by ChristopherHobbitton
Tuesday, May 27, 2003
First the bad news. Bat Boy spends so much of the first act shrieking and screaming that he has no voice for his two big numbers at the end of the show. And one of the funniest actors, who plays Ruthie, Bud, and Lorraine, uses such a thick accent for all three that you can't understand what she's saying.

Those picky points aside, this is a show unlike any you've seen in Atlanta. A Musical Dark Comedy with a lot of heart. The spunky ensemble makes you believe and care about what's going on in this crazy West Virginia town, and despite the absurd premise, I actually had tears in my eyes by the end of the show.

Go see it!



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