Bat Out of Hell: The Musical – Review – Leeds Grand Theatre

By Gail Schuster, April 2025

Like fifty million others, I bought Meat Loaf’s iconic album, Bat Out of Hell, and got myself, at a youthful 17, down to the NEC (National Exhibition Centre) in Birmingham to see him in concert. I have never forgotten this gig because of its theatrical nature, the performer’s commanding presence, and his powerful voice.

What I hadn’t realised was that composer Jim Steinman, who had a background in musical theatre, had originally intended Bat Out of Hell to be an update of J. M. Barrie’s Peter Pan—a musical called Neverland. That idea was shelved when the estate of J. M. Barrie did not support the concept. Steinman added to the songs he’d written for it and, eventually, with help from his lawyer, David Sonenberg (who borrowed money to pay for a recording session), the seven-song album was released after many rejections. However, as last night proves, the idea didn’t disappear, and in 2017, the production premiered in Manchester.

Bat Out of Hell: The Musical is a rock ‘n’ roll love story set in a post-apocalyptic, dystopian city called Obsidian. It is ruled by a tyrannical figure, Falco, who lives in a tower with his wife, Sloane, and their rebellious daughter, Raven. Below, in the ruined streets, lives a gang of forever-young misfits known as the Lost, who never age beyond 18. Their leader is the wild and passionate Strat, who falls head over heels in love with Raven. But Falco wants to keep Raven locked away and the Lost out of his world. As Strat and Raven strive to be together, tensions rise between the rich elite and the outcasts.

“Iconic anthems”

There are still plenty of nods to the original premise of Peter Pan. One of the characters is called Tink, and the people living as outsiders are known as the Lost—like the forever-youthful Lost Boys from the J. M. Barrie classic. Personally, I was not convinced by the Peter Pan theming and felt it could have been dropped. The dystopian setting, which runs throughout the show, would have been enough.

Certainly, the songs and the music of Meat Loaf and Steinman have stood the test of time, and if audience attendance is anything to go by, there are plenty of people who want to hear them. The eight-piece band rightly takes its place on stage. This is a full-blown rock concert sound, blurring the lines between musical theatre and a live set. Steinman’s power ballads and iconic anthems are delivered with intensity and drama.

However, there were elements of the production which did not sit well with me. I found the dialogue clunky and, at times, cringeworthy and confusing. The saving grace was that there wasn’t much of it, and the score very much takes centre stage. I was also not keen on some of the choreography, which I found distracting at times.

The set, by Jon Bausor, worked very well. The stage is effectively divided into three: the top left, where the musicians sit; the top right, where Falco lives with his family; and the lower stage, where the Lost dwell, emerging from a black stone tunnel. Over the band are two large video screens, which contribute to the rock concert aesthetic by projecting live footage of the action. These screens also aid storytelling through additional visuals. The costumes, also by Bausor, are largely monochrome, with splashes of red for the Lost and more colour for Falco and his family. There is a clear 1980s vibe in both hairstyles and clothing.

“Electrifying”

Harriet Richardson-Cockerline and Rob Fowler, as Sloane and Falco respectively, gave a strong performance of the song ‘Paradise by the Dashboard Light’. It is staged as a long-married couple trying to rekindle the spark between them, in direct contrast to the intensity of the young love between Raven and Strat. It provides one of the few moments of humour in an otherwise bleak storyline.

Act One finishes with a powerful rendition of ‘Bat Out of Hell’, when Raven (Katie Tonkinson) finds the courage to spend a night of passion with Strat (Luke Street), only to be dragged back into Falco’s world, leaving Strat reeling physically and emotionally. The music, paired with stage effects—such as video screens, lighting, and choreography—turns this moment into an electrifying concert experience, highlighting its roots in classic rock and setting the scene for the conflicts and resolutions of Act Two. Street’s performance captured the raw energy of this powerful anthem.

The show is packed with Meat Loaf/Steinman fan favourites, including ‘Dead Ringer for Love’, ‘You Took the Words Right Out of My Mouth’, and ‘Two Out of Three Ain’t Bad’.

Bat Out of Hell: The Musical is a bold and visually dynamic production that successfully channels the grandeur and emotion of Jim Steinman’s legendary score. With its striking staging, heartfelt performances, and a soundtrack that blends theatrical flair with rock intensity, it offers an experience that is both nostalgic and original.

‘Bat Out Of Hell’ is at Leeds Grand Theatre until 26th April
images: Chris Davis Studio

Gail Schuster( Writer )

Gail is a woman with many interests.  She loves a bracing walk through the countryside, filling her lungs with air and enjoying the flora and fauna along the way. An animal lover, she has found herself sharing her home with creatures with four, six and eight legs, though some of the ones with a higher number of legs have been introduced by her daughter! A keen theatre goer, Gail once ran the entertainment section of her work’s social club. When she’s not walking or enjoying a performance, you can usually find her in the garden or cooking up something in the kitchen. An enthusiastic home cook who likes to try her hand at new dishes which are mostly appreciated by her husband and daughter, broccoli roulade or cauliflower pizza aside. Able to converse in several languages, Gail eventually found her cosy corner in her adopted Yorkshire.

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