Bat Out Of Hell UK Tour Review
The newly reimagined production continues its flight across the country
For every few shows a writer is lucky enough to review, there will inevitably be one at odds with their personal taste—statistical inevitability, perhaps, but also a reminder of the challenge the job presents: the pursuit of (almost) complete objectivity.
Bat Out of Hell is set in a post-apocalyptic dystopia, where a gang of eternally 18-year-old outcasts known as ‘The Lost’ battle against the oppressive regime of Falco, a dictatorial figure bent on eradication. At the centre of this chaotic world is a forbidden romance: Strat, the leader of The Lost, falls for Raven, Falco’s sheltered daughter. Through the epic music of Jim Steinman and Meat Loaf, the show explores themes of rebellion, youth, love, and the struggles of growing up.
Before delving deeper into the intricate details of this show’s flaws, there is one point which needs to be made absolutely and unequivocally clear: the cast and band are all phenomenal. Even in a performance with three understudies stepping in, the ensemble displayed extraordinary vocal prowess and commitment. It’s obvious that every performer was cast not just for their vocal range, but for their ability to handle the show’s immense demands—and all of them rose well above expectation.
Glenn Adamson (Strat) and Katie Tonkinson (Raven) formed a powerhouse duo, smashing every single number like there was no tomorrow. Standout moments for the duo were ‘I’d Do Anything For Love’ and Tonkinson’s star moment: ‘It’s All Coming Back To Me Now’. To be completely frank, it would be so hard to pick out any single vocal performance, as every one of them was so overwhelmingly gripping and powerful.
Despite this, the cast and band’s talent is unfortunately overshadowed by its flawed book - the story in itself mixed together too many references from well-known stories, including Peter Pan and Romeo & Juliet. This, however, would not have been as prominent of an issue if the script had attempted to deliver further emotional depth, adding something the audience would not be able to experience elsewhere.
Throughout the show, the cast speak (and sing) through hand-held microphones, which led to the second major issue with the performance - the difficulty to connect to the story. Conversations feel stilted, timing suffers, and it becomes difficult to engage with the story on a human level. This production choice, combined with an already fragmented script, makes much of the show hard to follow.
Tonkinson is often followed by a camera, which projects the image above the stage. The idea in itself helped to intensify the illusion of a dystopia, and could, in a way, have acted as a metaphor for the eyes of Raven’s overbearing father. However, the execution doesn’t live up to its thematic potential and ends up feeling more distracting than meaningful.
That said, whenever the music kicks in, the experience transforms entirely. Steinman’s legendary score, packed with rock epics like ‘Paradise by the Dashboard Light’, the title track and the aforementioned ballads, injects the show with an electrifying energy. At these moments, audience confusion gives way to awe. The lighting, choreography, and sheer performance intensity create jaw-dropping sequences that feel like a fever dream in the best way possible.
By the end, the show left the writer deeply conflicted. Rarely has a production showcased such staggering talent, only to be let down by its structure. You may find yourself deeply connected to the performers themselves, whose dedication nearly redeems the confusion around the characters or story. It’s a wild, loud, unrelenting spectacle: equal parts exhilarating and disorienting.
★ ★ ★ ☆ ☆
Bat Out Of Hell continues its UK Tour until September 2025, including a London run at the Peacock Theatre from 21 May - 7 June. For more information, tour dates and listings, visit the production website.
This production was reviewed during its run at New Victoria Theatre, Woking. Tickets to the Woking run are available here.
Reviewed by Emma, Freelance Contributor
Tickets and Accessibility
🎟️ Tickets were kindly gifted by the venue, with expectation of an honest, non-biased review. All opinions remain those of the writer, without any input or approval from the producers or venue. Standard ticket prices (generally starting from £15) and concessions vary by venue, with a limited allocation of £10 Barclays Dance Pass tickets available for the London run.
♾️ The show is generally highly overstimulating. There are bright, flashing lights that sometime moves towards the audience throughout, plus a very loud soundscape throughout.
There are a few gunshot sound effects in both acts (relatively close to the interval), and confetti cannons both at the end of bigger ensemble numbers and at the very end of ‘Bat Out Of Hell (Reprise/Curtain Call)’. Specific timings were not noted by the writer.
Bat Out Of Hell in the West End and on tour is produced by Michael Cohl, Tony Smith and David Sonenberg with executive producer Julian Stoneman.
At no additional cost to you, we may earn a small commission on purchases you make with ATG Tickets via our website to support our work as a fully voluntary team.
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