Everybody Wants to Rule the World

American Psycho

From the first lyrics that he utters in the opening number, “Selling Out,” the main character reels off a litany of high end brands he wears and products that he uses, the audience gets a pretty clear picture of Patrick Bateman. This is a most unique musical that says so much about the American Dream. Individual taste is different for everyone and it’s obvious that this eclectic show probably won’t appeal to everyone. “American Psycho” isn’t your traditional musical comedy, yet, truth be told, there’s a whole lot of dark humor wallowing in this gory production. 

Based upon the controversial 1991 novel by Bret  Easton Ellis, this 2013 musical theatrical version features a book by Roberto Aguirre-Sacasa and music and lyrics by Grammy and Tony Award-winner, Duncan Sheik (“Spring Awakening,”). Like the novel and the 2000 film version, the musical is set in New York City during the Wall Street boom of the bountiful 1980’s. Three years later, the musical transferred from London to Broadway where it received mixed reviews. Sheik’s score pulsates with electronic dance music, often with lyrics that are spoken, rather than sung. The score’s interspersed with five very incisive 80’s pop hits that perfectly capture this era of arrogance and self indulgence. Songs like “Don’t You Want Me,” “In the Air Tonight,” “True Faith” and the finale to Act I, “Hip to Be Square” add a bit of authenticity and period perfection to the show.  

The plot focuses on a successful, self-centered and affluent Manhattan investment broker named Patrick Bateman. Narrating his own story, Bateman is obsessed with always being the best at everything and having it all. But once he’s found his way to the top, Patrick’s mind starts taking him to ominous and immoral places. He fantasizes about saying shocking and highly inappropriate things to his friends and co-workers. Then he begins imagining untold acts of violence, mutilation and mass murder—or is he actually carrying out these acts of mayhem? As the blood flows and the body count increases it becomes difficult to tell what’s real and what’s simply happening in Patrick’s mind.

First of all, bravo to Kokandy Productions for bringing new musicals to Chicago. While it seems like most of the big Windy City theatres produce the same shows, often within the same season, this company is gutsy. Kokandy takes chances on exciting, new works, which are fresh and much welcome. A big thank you for truly considering your audience! 

One of the city’s finest and most sought-after 

director/choreographers, who also happens to be Kokandy’s Artistic Director, Derek Van Barham brings this edgy, R-rated musical to the Chopin studio stage. He guides his show with a driving, almost demonic energy. While honoring the original novel, Van Barham puts his own inimitable touch on this exquisite production. Through G “Max” Maxin IV’s scenic, lighting and projection design, the director spotlights the style-conscious Patrick Bateman and his peers, by staging the show on a long, narrow fashion runway. Two smaller stages located at each end provide a safe gathering place for the characters, and the audience is seated on each side of the performance space.

The talented cast is filled with the kinds of beautiful people described in the novel. All of these actors are gifted 

singer/dancers, as well. Seen in Windy City Playhouse’s immersive production of “The Boys in the Band,” Kyle Patrick is absolutely sensational here as the boyishly handsome Patrick Bateman. He has it all: the brooding looks, the soothing voice, the toned body and the fine dance moves. Looking great, both in his Armani suit and his Ralph Lauren tighty-whities, Mr. Patrick wields the more macabre moments of this manic-depressive role with as much authority as his butcher knife and axe. As Paul Owen, Patrick’s frenemy and coworker, John Drea is very impressive. A standout in Grippo Stage’s “Chagall in School,” he effortlessly twists the knife into Bateman’s psyche as he gloats about his fancy business cards, his connections to the best Manhattan restaurants and how he landed the much sought-after account that Patrick would kill for. And that’s just in Act I. 

As Bateman’s colleagues, Will Lidke, Kevin Parra, Evan B. Smith and Jonathon Allsop are all excellent. Quinn Kelch does a fine job as Luis Carruthers when he’s paired with his coworkers or his supposed girlfriend, Courtney Lawrence (an excellent Danielle Smith). However, when Luis drops his false persona and his true colors come out, Kelch plays Luis’ attraction to Patrick much too flamboyantly. The actor does provide some comic relief, but it’s not consistent with the rest of the show.

Caleigh Pan-Kita (“ Chorus Line” at Drury Lane) is flawless as Evelyn Williams, Patrick’s equally shallow, status-obsessed girlfriend. Like the entire cast, she’s gorgeously costumed by Rachel Sypniewski, with makeup by Syd Genco and hair and wig designs by Keith Ryan. Ms. Pan-Kita can sing, move and deliver her character’s banal lines with much aplomb. Amber Dow is properly proud and haughty as Patrick’s mother and Sonia Goldberg (Leading Player in Music Theater Works’ “Pippin”) turns in another accomplished performance, this time as Jean, Bateman’s gracious, helpful and loving secretary. As the body count ramps up, however, the audience finds themselves fearing for this young woman’s safety.

The story can be traced by reading the titles of Duncan Sheik’s original songs. “You Are What You Wear,” “Cards,” “Hardbody,” “Common Man” and “This is Not an Exit” mark major turning points in the plot. Heidi Joosten’s musical direction keeps this cast humming with harmony, while Breon Arzell, who’s also an exceptional actor (catch his stellar performance in Remy Bumppo’s “Blues For an Alabama Sky”), choreographs this production with plenty of spirit and stamina. The athletic ability of this talented cast brings polish, potency and pizzazz to Arzell’s creative dance moves. And kudos to sound engineer Lynsy Folckomer for her excellent work in keeping the music flowing and on track.

Everything about this exciting Chicago premiere is superior. Derek Van Barham’s expert direction, which is sharp and unflinching, once again demonstrates his special skill with plays and musicals that are dark, edgy and speak volumes about today’s world. The acting is spectacular. The leading players are spot-on, and the supporting cast blends well as an ensemble, particularly during the many high-tech musical and dance numbers. The technical support provided is by some of Chicago’s finest theatre artists, from Quinn Simmons’ performance and choreographic assistance, to the fine intimacy coordination and fight choreography supervised by Kirsten Baity and Kate Lass, respectively. Everybody, it turns out, Wants to Rule this World!

Highly Recommended

Reviewed by Colin Douglas

Presented September 14-November 26 by Kokandy Productions at the Chopin Theatre, 1543 W. Division St., Chicago.

Tickets are available at the door or by going to

www.bit.ly/AmericanPsychoChicago.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.