Bat Boy the Musical


Bat Boy the Musical runs Oct 3 thru Nov 10 at http://www.artswest.org in Seattle, WA. Music & lyrics by Laurence O’Keefe, Book by Keythe Farley and Brian Flemming. Directed by Christopher Zinovitch.

Bat Boy was originally an actual cover story article in the Weekly World News on June 23, 1992. Read about the Bat Boy origins on Wikipedia. Excerpt:

Bat Boy debuted as a cover story on June 23, 1992.[1] The original front-page photo of Bat Boy, showing a creature with a grotesque screaming face, was the second-best selling issue in the tabloid’s history, and he has since evolved into a pop-culture icon. The story of Bat Boy was turned into a retardedoff-Broadway musical, Bat Boy: The Musical.

Bat Boy: The Musical is an Off-Broadway musical based on Bat Boy, a character whose antics regularly appear in the Weekly World News tabloid. The story about a half-boy, half-bat found living in a cave inspired bookwriters Keythe Farley and Brian Flemming to write a stage adaptation. They were joined by American composer/lyricist Laurence O’Keefe (no relation to the English bassist Laurence O’Keefe) and their first production premiered on Halloween, 1997.


A great production of Bat Boy the Musical by Arts West in Seattle, WA. I liked their production so much I went and saw it twice. (GO SEE IT!). Arts West is smaller house under a couple hundred seats. The sound system is dialed in well – it’s easy to hear everything going on and the full chorus numbers are loud and in your face but not abrasive. When the full chorus sang it was awesome to hear the full harmony stacks clear and punchy. Major kudos to the audio techs at Arts West.

I seem to be having a “bat year”. Earlier this year I did foley and soundtracks for Bram Stoker’s Dracula (my Dracula Overture has been making it’s rounds on the net) and I’m currently working on Rocky Horror Show.  To one of the Bat Boy shows I brought along Frank N Furter from the Rocky Horror Show (Frank ‘N Furter is kind of a vampire in drag). Bat Boy was new to me, I hadn’t heard about it until a friend dragged me out to it. The musical is tacky, campy, gory, sometimes almost offensive and SO VERY FUNNY! There are moments of brief pathos, but quickly broken with slapstick comedy and social commentary. It is true entertainment.

Troy Wageman was mesmerizing as Bat Boy. I just can’t imagine what he goes through each show. There are entire scenes where he has to hang in a cage by his toes – and throughout the musical he retains his bat postures with curled fingers and toes. Towards the end of the show the Bat Boy vocal part is full of full throttle high notes. And Troy pulled it off 100% through to the end of the show. I worked with Troy in “Brigadoon” when he played the romantic lead. It was fun to watch him in a show where he wasn’t restrained and could really let loose the various nuances of his personality. Troy, you are my new hero. You are definately nudging yourself towards a lead with a major company, can’t wait to hear about it when it happens. Not IF, but when…

Nick DeSantis as Dr. Parker created a three dimensional character that we loved to hate. His comedic second-takes and sometimes vaudeville sinister movements had impeccable timing. Especially at a smaller theater like Arts West in Seattle, he made a strong connection with the audience that we were all “in on it” with him. Of all the actors in this presentation, Nick’s seemed the most like he jumped right out of a quality comic book and right onto the stage. And I mean that in all the best of ways.

Tim Glynn (Ned, Pan) didn’t have as many moments to shine as I would have liked. Just because I’m also a fan of his. He does get a great spotlight on Pan’s solo and carried it off with classic bravado. And yes, we all got a kick out of his protruding Pan costume which paraded proudly. I also worked with Tim in Brigadoon – he has a wide range of vocal chops from light operatic lyric tenor to full bodied baritone. He’s also a career to track closely.

Jimmy Scheider (Rick, Lorraine) actually stole scenes just getting into position for new scenes with lights out! He played Lorraine in drag and would get laughs just sauntering sexily into stage position. His fawning over the sheriff and overt delivery of Southern Belle charm made his character a hit. When he changed to the character of Rich, you wouldn’t even know it was the same person. (Rick is a “guys guy” complete with mullet and white boy raps). Great acting chops.

If you like musical theater but are bored with the same old dusty musicals being performed, then check out Bat Boy – I would be very surprised if it wasn’t one of your new favorites.

ARTS WEST BAT BOY CAST AND CREW

Bat Boy – Troy Wageman

Meredith – Heather Hawkins

Dr. Parker – Nick DeSantis

Shelly Parker – Krystle Armstrong

Ron, Maggie – Trish LaGrua

Sheriff – Sulo Turner

Ruthie, Bud – Arielle Grieco

Mrs. Taylor, Rev. Hightower, Roy – Evan Woltz

Pan, Ned – Tim Glynn

Daisy, Institute Man, Doctor – Greta Bloor

Rick, Lorraine – Jimmy Scheider

The Artistic Team

Director – Christopher Zinovitch

Musical Director – R. J. Tancioco

Choreographer – Kristen Culp

Stage Managers – Liz James and Andrew Chin

Sound Designer – Evan Middlesworth

Lighting Designer – John Small

Set Designer/Technical Director – Will Abrahamse

Costume Designer – Pete Rush

Prop Designer – Karen Engelbrecht

Wig Designer – Cindy Bradder

BAT BOY CAST BIOs

Krystle Armstrong
Shelly Parker

Krystle is in kibble heaven to be making her Artswest debut! She is the loving partner to a Great Dane named Monty, who works as an Elvis impersonator. Due to the fact that the state will not let her marry her canine lover, she is working to earn money to elope to Timbuktu. She has worked at many places, including The 5th Avenue Theatre, Village Theatre, CDA Summer Theatre and Showtunes!. Favorite roles include Millie in Thoroughly Modern Millie, Angie in …In New Jersey, and Woman #2 in Putting it Together. Enjoy the show!

Greta Bloor
Daisy, Institute Man, Doctor

Greta comes from the land of neuro geeks where she has been known to perform experiments on the central nervous systems of barnyard animals. When not studying the flow of cerebral spinal fluid through the brain of a cow, she exercises her synaptic strength on the stages of Seattle. Some credits include Baby, Barefoot in the Park, and Voices of Christmas at ArtsWest, as well as Robin Hood and Hello, Dolly at Village Theatre and Three Sisters at Intiman. As always, she would like to thank the number one donor to the barnyard animal research fund, Andy.

Nick DeSantis
Dr. Parker

Born in the back of a AMC Gremlin while touring with “Pustulent Ted’s Family Freakshow,” Nick was originally part of a set of conjoined quadruplets connected at the armpits. After a grueling 27 hour surgery, his siblings went on to great success in the Armenian sitcom “That’s MY Kugel!”. Nick came to ArtsWest where he was raised by a pack of wild gerbils. He has been on the AW boards in La Bete, How I Got That Story and tick, tick…BOOM for which he won a Seattle Times Footlight Award. Look for him this spring in his first one man(?) show….I Am My Own Wife here on the ArtsWest Stage. He is still greatly comforted by the scent of cedar shavings.

Timothy Glynn
Pan, Ned

Timothy has spent the last thirteen years searching for his soul, which he lost to the Demon Lord Mephisto in a botched deal for a magical pink tutu. When not skirting lakes of brimstone and hellfire, he raises five legged elephants in his Soho loft in Budapest. His prize elephant, Mary Lou La’Bruer, just took home first place in the 1st Annual Universal Mud Bubble Competition. The medal hangs on the dining room wall with mixed emotions after the other competitor, sour from defeat, became bulimic and was committed to rehab where she rooms with Paris Hilton and her mutant dog. Visiting hours are 9-12 am W-F. Timothy recently traveled to Brigadoon with Lyric Light Opera, where he disguised himself as a pixyish man named Charlie. He will next take Lacey, his magical tutu, to Whidbey Island in March for a solo show titled, Broadway Anthems. A few of his favorite things include: belting, calla lilies, and Mama’s Famous Fungus and Rye Stew. He appreciates your making him feel welcome at ArtsWest, and invites you to sit back – he spits!

Arielle Grieco
Ruthi, Bud

When not spelunking in the Jeita Grotto of Beirut, Arielle has committed her exceedingly lengthy adult life to not only re-curing polio, but starring in such roles as Sergeant Andrew Carter on the hit 1960s sitcom Hogan’s Heroes and some jerk in Hair. Arielle looks forward to both appearing in this production and learning to read. She would like to thank her parents, the milkman, Jeeves, this delicious ham sandwich, a pocketful of wishes, Jeremy for writing this, the Almighty Zeus and is survived by her brother, Adrienne, and her dog, Peaches-N-Cream.

Heather Hawkins
Meredith

Heather’s back in style after a “retreat” following her hairpulling, name-calling, bitch-slapping night on the town with Lindsay, Paris and Nicole. “So not worth the trouble” says our girl about the infamous fight over the last dregs of a down market vodka and leftover swag from the Daytime Emmys. “I already have the iPhone and you know, those girls are yesterday’s news.” In between throw-downs with her frenemies, Heather spends time helping local paparazzi, appearing in ArtsWest’s productions – Mrs. Johnstone in Blood Brothers, Mary in On The Verge and Alexa Vere de Vere in As Bees in Honey Drown, for which she received a 2006 Seattle Times Footlight Award. She supports the arts, appearing as Helena in A Midsummer Night’s Dream, Portia in Julius Caesar, and Mistress Ford in The Merry Wives of Windsor for Wooden O, Emma in Betrayal and Hermione in The Winter’s Tale for Seattle Public Theater and Titania in A Midsummer Night’s Dream for Seattle Shakespeare Company, as well as paid appearances at Village Theater, ACT, Empty Space, Mirror Stage, Theater Schmeater, Exchange Theatre, Kenyon Hall, and 14/48. Look for her next in The Sweetest Swing in Baseball at ArtsWest and Seattle Public Theater. Her favorite unpaid role is Mom and Wife in The Life and Times of Duncan, Tessa, and Jay Weinland.

Trish LaGrua
Ron, Maggie

After surviving bureaucratic prison for ten years, Trish and her partner spawned two perfect children who are currently on display at the Washington School of Genetics. She is crossing her fingers that this, her sixth attempt to sneak on stage at ArtsWest will be successful. Previous attempts include Blood Brothers, Lend Me a Tenor, Honk, Voices of Christmas and Romance/Romance. You may recognize Trish from her years as the stunt double for Daisy Duke in the Dukes of Hazzard television series. She has recurring nightmares of hot pants and high heels.

Jimmy Scheider
Rick, Lorraine

Jimmy is pleased to be making his debut at ArtsWest. Though artificially inseminated in an earth woman, Jimmy originally hails from the planet Zarthax, in the Lilat system.

Since reaching maturity he has been successfully implanting earth woman with hybrid alien larvae, but musical theater has always been his passion. Recent sightings include Waxworks (Schutzman) with the Aspen Opera Theatre Company, Hello Dolly! and The Who’s Tommy with Village Theatre. He would like to thank his host family and friends for their unsuspecting support of his efforts to remain hidden living among your kind until the day of glory arrives!

Sulo Turner
Sheriff

Sulo Turner began his illustrious acting career at 3 years of age, originating the role of the imaginary son in Who’s Afraid of Virginia Woolf? After earning his masters degree in theater magic at Hope Falls Junior College, he delighted coal miners throughout the US in a successful tour of Anthracite! The Musical. His passion for stretch denim led to a tragic sewing accident in 1977, requiring a 7-year recovery, during which he penned the self-help classic, Finding The ‘I’ In You. More recently, Sulo has graced the ArtsWest stage with unforgettable performances in Blood Brothers and Voices of Christmas.

Troy Wageman
Bat Boy

Troy L. Wageman is the last surviving member of the Order of Aoide, an ancient brotherhood sworn to protect The Lost Chord by ensuring it remains forever lost. His mysterious duties often require him to insinuate himself into the casts of local musicals such as West Side Story and Pippin at 5th Avenue Theatre, Brigadoon at Lyric Light Opera, and Evita at Village Theatre. In the absence of other acolytes, he must also occasionally patrol regional productions as he did in Footloose, Jekyll and Hyde, and Disney’s Beauty and the Beast. Brother Troy and his Sacred Pitch Pipe of Discord will next keep watch at 5th Avenue’s Cabaret.

Evan Woltz
Mrs. Taylor, Rev. Hightower, Roy

Inside the dusty ruins of a cave believed to be a hideout connected to the ancient Jewish fortress Masada, dried blood was found smeared on what archeologists have found was a rudimentary karaoke microphone discarded amidst piles of religious manuscript and relics, which included a 3000-year-old copy of “Moses Rocks the ’80s!” Collecting the decrepit DNA, American scientists engineered a somewhat human clone inside the depths of an “unrecognized” government laboratory. From an early age, it was clear the Masada Clone Baby was born to entertain, performing solo in complete self-productions of Sweeney Todd, Picasso at the Lapin Agile, and Hamlet, all before the age of seven. On its sixteenth birthday, a kind security guard at the cloning facility granted the Masada Clone Baby its freedom after a particularly lengthy plea in the form of

“Somewhere That’s Green” from Little Shop of Horrors. Now on the lam from The Man, the Clone Baby has renamed himself Evan Woltz (after the kindly security guard), and is happily pursuing a career in theater whilst evading the law on a series of madcap adventures.

Artistic Team BIOs

Andrew Chin
Stage Manger / Sound Operator

STAGE MANAGER ESCAPES FROM TILONUS MENTAL INSTITUTION. Stage Manager Andrew Chin, who had been under the care of Dr. Syrus of the Tilonus IV Mental Institution, has escaped. He is thought to be headed to West Seattle, Earth, possibly to ArtsWest where he has stage managed for the past four years with favorite shows including: tick, tick… BOOM!, As Bees in Honey Drown, and Vilna’s Got a Golem. He may also seek refuge with other area theatre companies he has worked with in the past such as d9 Dance Collective, ReAct, and SIS Productions. If seen, please call authorities. Do not attempt to make contact as he has been known to exhibit random, erratic behavior such as screaming at chickens, pistol whipping unruly actors, and hopping like a bunny.

Kristin Culp
Choreographer

Some say Kristin is from outer space, but we know the truth. She is from a place more bizarre than our minds can comprehend, New Jersey. There she worked for Vampires at a theater called Surflight where she choreographed many a show. The presence of Vampires eventually took its toll and forced her to flee to Seattle. Here she continues to teach children and adults the way of the dance. Favorite choreography credits: Children of Eden (Village Theatre’s KIDSTAGE), The Secret Garden, Annie, Joseph…Dreamcoat, The Pajama Game (Surflight Theatre). Thanks to Christopher, R.J., Jessica Skerrit, and so much love and thanks to Jason.

Liz James
Stage Manager

Liz was born in the outskirts of an Eastern Washington farming town and left to be raised by wolves until she was eight, when a traveling theater troupe, The Commedians, found her and took her with them. It was then found that she had a taste for the blood of actors and children. When she came to ArtsWest it was learned that she couldn�t get past that thirst for actor’s blood and she was locked away in the booth for productions such as Voices of Christmas 2006 and Pinocchio.

Will Abrahamse
Set Designer,Technical Director

According to recently declassified government documents, ArtsWest Technical Director Will Abrahamse is, in fact, a member of a subterranean mole-people. Captured in the wasteland of Eastern Washington while emerging from under a 37-ton boulder, he was mercilessly examined in the top-secret laboratories of Area 51. However, he was soon released into the Seattle area under the close scrutiny of government agents. He now spends his days toiling in a darkened theater, free from the dangers of natural sunlight, desperate to recreate the comforts of his lost world.

John Small
Lighting Designer

Kept locked away in a notoriously haunted Chinese theater on 5th Avenue in downtown Seattle for almost five years, his skin grew pale and translucent, even through warm summer months, fed a strict diet of mainstream musical theater, almost devoid of meaningful nourishment, his starving soul craved something bloody and shocking. Then a miracle! His captors left the stage door open. He escaped, cackling, into the blinding sunlight to rove free among the people who cringed at his pale form and huge eyeballs. When asked, all he could say was “Five years, Thirty two musicals, forced…. to…. watch…. every…. single…. performance. Spot 1 Go, Spot 1 Out, Spot 1 Go, Spot 1 Out. Out Out Damned Spot!” They called him Sparky, They called him Stage Electrician. They called him House Staff. He forgot the taste of meals cooked at home, and the sound of sleeping in without an alarm, the company of normal (non-theater) people. He forgot his name. Some lingering homing instinct. The faint echo of family. He cowered in a dumpster behind ArtsWest, living on coffee grounds, until Chris Zinovitch found him there, lured him into the theater with a script for Bat Boy, and began his miraculous rehabilitation to Better Theater and the rediscovery of his name and title, John Small, Lighting Designer. He’s learned to wear shirts without holes in them, he’s learned to read whole scripts, he’s learned the joy of having a Life again.

Pete Rush
Costume Designer

Pete Rush is a fashion reject exiled to Seattle from the east coast. After being thrown out of the circus for extremely bad taste (he designed costumes that offended the patrons), he thought it best to head to the relative anonimity of the west. In Seattle, his designs for Travesties at Seattle Public Theater were indeed just that, his Crime and Punishment clothes at CHAC made the audience groan with oppressive displeasure, and Book-It Repertory’s House of the Spirits was simply nightmarish. Mr. Rush lately can be found haunting the depths of ArtsWest, where he sweet talked his way into several productions this season, including The Retreat From Moscow and I Am My Own Wife. In his spare time, the designer also makes art out of trash, sells his soul to anyone who will pay him, and runs a small home for wayward hustlers out of his apartment.

Evan Middlesworth
Sound Designer

Roaming through the hills of the sagebrush-shadowed darkland, a young boy and his ukelele saw an oasis of hope on the horizon. In need of food, shelter and SPF 45 sun block, the young soul limped his way to what was most certainly a figment of his mutated imagination. One step after the other, he didn’s stop for 13 days and on his last day he fell. When he awoke he found himself involved with a gangly bunch of hippies in a production of Hair at ArtsWest. No one asked his name and no one cared. His quest had now become complete and the mission made simple….”make it sound good” a voice said in the dark. Young Evan could only nod and smile for he could not hear a word the shapeless figure said from the levitated sound reinforced chamber of beyond. From the days of wandering the desert, helpless, alone and confused, he now is in the world of the theater….which is just about the same…but the cast, crew and production team at ArtsWest have taken this burnt soul and trusted him enough to become one of their own, enjoy!

R.J. Tancioco
Musical Director/Piano/Conductor

Last seen here in a jolly red suit singing the joys of Christmas and bearing tidings of great comfort and joy, R.J. has now hung up his leather boots and oversized pants to venture into the world behind the piano. He has been sighted (in dark rooms with hundereds of people who paid exorbitant amounts of money to watch people sing and dance on stage) in such places as the 5th Avenue Theatre, Village Theatre, San Jose Rep, Broadway Rose, New York Public Theatre, to name a few. He is known to create magic spells with the wisk of his baton to such favorite chants such as Evita, Dreamgirls, Hair, The Last Five Years, Children of Eden, and Joseph…Dreamcoat. Also known to travel at the speed of 100 miles per minute, R.J. slows down by enjoying the 88-key monster and teaching children, young adults, and professionals to master their primitive cry. Soon, he believes he can fly.

Karen Engelbrecht
Prop Designer

Orphaned in a vicious drop-bear attack, Karen wandered aimlessly for months through the Australian outback, her only contact with humanity being a bootleg cassette of West Side Story. When she was finally found by Jackaroos, the only intelligible words she could form were “I like to be in America,” resulting in them shipping her off on a fishing boat bound for Ballard. Weeks of tying knots and untangling nets instilled in her the manual dexterity so prized by props masters the world over, while her love of show tunes and natural ability with sheep made her a perfect fit for the theater.

Cindy Bradder
Wig Designer

Growing up on a potato farm in small town Idaho, Cindy’s life was quite normal. In her formative years she excelled as a peel inspector at the local potato processing facility. It was there that she saw the image of Holly Hunter in a Yukon Gold and her life was forever changed. Just days after Cindy’s discovery she was abducted in the night by aliens desperate for her tuber inspection skills to help develop their new line of spud powered saucers. She is happy to speak at length about the experience but seems to go into some sort of trance at the mention of anal probes.

Christopher Zinovitch
Director

Christopher Zinovitch (Director) is better known to many children as The Man With Eyes In the Back of His Head. This is actually a myth, based on his knowledge of everything his students are getting up to at all times. His mystical omnipotence is assisted by the ability, inherited from his birth mother, a Ferruginous Pygmy-Owl, to turn his head 270 degrees. This power, reinforced by his network of spies, comes in handy when working with children on such productions as School House Rock Live, Hair and A Chorus Line. When not shepherding the Divas of Tomorrow, Christopher donates his time to the emotionally needy, constantly stoking egos while proving that Blood Brothers are just as much in danger as Bees in Honey.

BAT BOY THE MUSICAL – SYNOPSIS

Act I

Three teenagers — Ron, Rick and Ruthie Taylor — are spelunking in a cave near Hope Falls West Virginia. They notice a strange, humanoid creature in the cave with them, and identify him as the legendary feral “Bat Boy”. Bat Boy bites Ruthie’s neck, and Rick and Ron leap on him and knock him unconscious. The company then assembles onstage as a sort of Greek Chorus and begin to tell the legend of Bat Boy, instructing the audience to watch and learn from his struggle (“Hold Me, Bat Boy”).

Ruthie is taken to the hospital and Rick and Ron hand the Bat Boy over to the local lawman, Sheriff Reynolds, who decides to take him across town to the house of town veterinarian Doctor Parker. At the home of Doctor Parker, the doctor’s wife Meredith and daughter Shelley are cleaning and discussing boys; Rick Taylor is Shelley’s boyfriend. Sheriff Reynolds arrives with the Bat Boy. He asks Meredith to take in the creature until Dr. Parker returns home. Meredith agrees to keep Bat Boy in one of Dr. Parker’s spare cages, and the Sheriff thanks them for their “Christian Charity” and leaves.

Later in the evening a thunderstorm is brewing. Bat Boy is now inside a large cage in the Parkers’ living room. He is terrified and hungry, yet refuses everything Meredith makes for him. Shelley, annoyed by his shrieking, calls him an “Ugly Boy”. Meredith christens him Edgar. Rick Taylor arrives to see his Shelley. Rick flips out when he sees Edgar is still alive, but taunts him and tries to ignore him instead of doing anything. He and Shelley start making out, and Edgar starts imitating the noises they’re making. Rick gets pissed off, takes out a knife, and threatens to kill him (“Watcha Wanna Do?”). Meredith interrupts and throws him out of the house.

The storm hits and the power fails; Meredith sends Shelley to bed. Now alone with Edgar, Meredith sings softly to him, telling him that she hopes her house can be “A Home for You”. He responds to her, but spits out a stew she tries to give him.

In the Hope Falls Slaughterhouse, the Mayor Maggie has called a special meeting of the Town Council. She announces that the Reverend Billy Hightower will be bringing his Tent Revival Meeting and Barbecue to Hope Falls in the spring. Secondly, Mayor Maggie asks for an explanation from the ranchers for the lack of meat in the slaughterhouse. The ranchers admit their cows are too malnourished to be slaughtered, and several have died for no clear reason. The ranchers and townsfolk argue with each other and express their fears that “Another Dead Cow” may destroy the town. It is suggested that the cows may be dying because of the Bat Boy. They agree that Doctor Parker should kill it.

Back at the Parker house, Doctor Parker returns from hunting, carrying some dead geese slung over his shoulder. He has been drinking. Parker sees Edgar in the cage and is horrified. He analyzes Edgar and is about to give him a lethal injection when Meredith interrupts. She begs him not to kill Edgar, and says she will sleep with him if he saves the bat child from starvation. Doctor Parker asks that it be tonight, and she is reluctant. He sings “Dance With Me, Darling” about their happier times together. Meredith agrees, and after she leaves Doctor Parker slices open the neck of one of the geese and feeds Bat Boy the blood. A ghostly chorus of Voices in His Head appear onstage and sing with him.

At the local hospital, a doctor assures Mrs. Taylor that the delirious and terrified Ruthie will be okay. Ruthie’s mother and brothers try to reassure her (“Mrs. Taylor’s Lullaby”), promising her that if the Sheriff wants to stay in office he will kill the Bat Boy.

The next day at the Parker house, Meredith tries to teach Edgar how to behave like a human being. Over the course of several weeks, we see Edgar evolve from a gibbering, crouching creature to a confident, eloquent man-about-town with a high school equivalency diploma. Whenever Edgar’s progress stalls, Doctor Parker secretly feeds him blood (“Show You a Thing or Two”).

Mayor Maggie calls another special meeting of the Town Council, to discuss the upcoming revival meeting. The Sheriff, urged on by the townsfolk, tells Parker that Edgar cannot attend. Doctor Parker tries to convince the townsfolk that Edgar is not a danger, but they threaten to kill the Bat Boy if he is not taken away. Doctor Parker gives them his word of honor that Edgar will not come. (“Christian Charity (Reprise)”).

At the Parker house, Shelley is teaching Edgar to dance while Doctor Parker convinces Meredith that the pact he made is for the best. As they have tea, Edgar mentions he’s heard about the upcoming Revival and asks to attend. Doctor Parker tries to persuade him to go camping with the family instead. Edgar argues that he wants to see the world and join society, and that he doesn’t want to harm people he only wants to learn from them (“A Home for You (Reprise)”). Parker and Meredith are firm. Edgar argues that attending the Revival is crucial to his own development and happiness, because he is probably human – a realization he made recently when he noticed he has a navel (after watching a medical program TV). Parker is unmoved, but Meredith changes her mind and says she will take Edgar to the revival. In anger, Doctor Parker grabs Meredith’s arm and Edgar instinctively attacks him. Meredith stops him, then comforts Edgar – instead of Parker. Parker realizes Bat Boy has taken over his spot in Meredith’s heart (“Parker’s Epiphany”). Parker’s mind snaps, but he smiles and agrees to let Edgar attend the revival. Meredith leaves Doctor Parker alone with Edgar. Edgar is hungry, but hates himself for his bloodthirst. He says he thinks he can change, but Parker, in a cruel taunt, pulls a live rabbit out of his doctor’s bag and places it in front of Edgar, telling him to resist it. Doctor Parker argues with the Voices in His Head and devises a plan to destroy Edgar and win Meredith back. All the other residents of Hope Falls, including Meredith, Shelley, Maggie and the ranchers, sing of their plans for the revival the next day. Edgar sings a prayer to God, asking Him to remove his bloody nature. Bat Boy masters his hunger and hugs the rabbit, but Doctor Parker takes it from him and kills it. Edgar, horrified but unable to control his hunger, picks up the rabbit and begins to drink its blood. Doctor Parker comes to Ruthie Taylor’s hospital room and administers a lethal injection. She convulses and dies. (“Comfort and Joy”)

Act II

At the Revival Meeting, Reverend Billy Hightower works hard to raise the spirits of the townspeople (“A Joyful Noise”). He offers faith healing and asks for a volunteer with sins on his soul. Meredith, Shelley and Edgar arrive, and Edgar asks for healing, but it is unsuccessful. Edgar asks the townspeople to “Let Me Walk Among You,” promising he can be a civilized member of the community. They change their minds and embrace him (“A Joyful Noise (Reprise)”). Doctor Parker arrives and claims Ruthie Taylor has died in the night from a bizarre infection caused by Edgar’s bite, adding that he has called the Institute in Wheeling and they are on their way to remove him. All are horrified at the news as the town (and Edgar) believes the lie. Rick Taylor runs in with his brother and mother and aims a gun at Edgar (“Whatcha Wanna Do (Reprise)”), but Shelley steps in front of the gun. Rick shoves her aside violently and Edgar attacks Rick, biting his neck. Edgar runs away. Doctor Parker pretends to administer an antidote to Rick but instead gives him a lethal injection. Rick convulses and dies. The townspeople search the forest for the Edgar (“Stop the Bat Boy!”).

Meredith and Shelley also hunt for Edgar in the woods, resolving once they have found him they will leave town, change their names, and live far away from anyone – including Doctor Parker (“Three Bedroom House”). Shelley tells Meredith she is in love with Edgar. Meredith is horrified, and Shelley runs away deeper into the woods. She finds Edgar, and they comfort each other, then realize they’re in love. The Greek God of nature, Pan, a satyr, arrives to preside over a sort of union between Edgar and Shelley (“Children, Children”), accompanied by a chorus of animals of all shapes, sizes and species. The celebration culminates in a huge interspecies orgy.

Meanwhile, Ron Taylor is hunting for Edgar. He heads for the slaughterhouse, concluding the Bat Boy would most likely satisfy his blood-lust there. Ron makes a terrible racket while looking for him. Townsperson Daisy hears the noise and tells the Sheriff that she may have the Bat Boy cornered in the slaughterhouse. Mrs. Taylor overhears this comment and tries to kill Bat Boy by setting fire to the building with the torch. The slaughterhouse burns and the townsfolk arrive to watch the blaze. Ron is killed in the fire. The townsfolk by now are turning into an irrational mob. Doctor Parker riles them further by telling them the Bat Boy is on a rampage (“More Blood”). The mob follows the doctor as he leads the hunt (“Kill the Bat Boy!”).

In the clearing in the woods, Shelley and Edgar are curled together. Edgar realizes he is hungry and tries to leave protect Shelley, but she reveals she knows he eats blood. She offers her arm to Edgar to drink from and he reluctantly agrees (“Inside Your Heart”). Just as Edgar is about to bite her, Meredith finds the pair and stops them by revealing that she is Edgar’s mother. Overcome with grief and shame, Edgar runs off.

Edgar decapitates a cow and confesses his despair to the severed head (“Apology to a Cow”). He laments his lost life in the cave and rages against his parents. He declares he will murder his mother and father as revenge for making him aware of the world, but denying him love with Shelley. The Townsfolk, Doctor Parker and the Sheriff arrive. Parker tells Edgar that he is not his father. The Sheriff tries to talk down the townsfolk, who are about to kill Edgar, who is about to kill Parker, but Meredith arrives and begs them not to. She and Parker tell the true story of how Edgar came to be. They say that Doctor Parker was a young ambitious veterinarian and Meredith was his assistant and fiancé. He spilled a pheromone he was working on onto her. It drove him mad with lust, and he raped her. Coming home, she was raped again by a swarm of bats. Doctor Parker cared for her afterward, hoping she would forgive him. She discovered she was pregnant, and they married and moved to Hope Falls. She gave birth to twins: Shelley and Edgar. She demanded that Edgar be killed, but Parker, unable to kill Meredith’s child, left him at the mouth of a cave, where his true fathers (the bats) found him and carried him down to the caves to raise him as one of their own.

The townspeople still demand revenge. They blame Edgar for the cow plague, but Meredith tells them that the cows are dying because they’ve been raising them on a mountain. She tries to comfort Edgar, but he has already decided he wants to die (“Finale: I Imagine You’re Upset”). The Sherriff tells Edgar not to throw his life away, but Edgar doesn’t listen. He asks Doctor Parker to kill him, but Parker cannot, so Edgar reveals that he slept with Shelley and that she offered him her blood. Doctor Parker is about to kill him when Meredith stops him. Parker apologizes for what he’s done, Meredith forgives him and asks him if they can start over. But Parker, unable to forgive himself, asks Edgar if he’s hungry and lifts his knife and slits his own throat open. Edgar, unable to resist the blood, leaps upon Parker and drinks from his neck. Doctor Parker stabs Edgar in the back, and as he raises his knife to stab again, Meredith runs forward and tries to pull Edgar off, and she too is stabbed in the back. The three fall to the ground, dying. Edgar declares that he is an animal and dies in Shelley’s lap. (“Finale: I Am Not a Boy”). As the townsfolk stand stunned, the Institute Man arrives, but too late. He asks what happened, and Shelley stands up and tells the story of the Bat Boy (“Hold Me, Bat Boy (Reprise)”). The cast, living and dead, turn and address the audience, delivering the final messages of the show. Bat Boy rises up and the show ends as the company tells the audience “don’t deny your beast inside.”

Cirque Du Soleil in China – Our Way or No Way

Cirque Du Soleil uses it’s leverage in China to create acceptable working conditions in surrounding areas. The full article from Canada.com can be read at:

http://www.canada.com/topics/news/story.html?id=d2c2a907-5ae0-433d-a4db-0f357b041f86&k=42608

Excerpt:

“It’s important to promote our values and to make sure that the people we work with respect them,” said Gaetan Morency, vice-president of Public and Social Affairs at the Cirque.

He acknowledged that the Cirque — arguably one of Canada’s most recognized global brands — has a lot of leverage since countries are lining up to convince the circus to come to their towns.

Santos Brothers – CDS Varekai Foot Juggling Artists

 

Visit the Santos Brothers website at http://www.rampinbrothers.com/
The Santos Brothers where born in Madrid, Spain. Javier (1976) and the twins Pedro and Ramon (1985) They are continuing a seventh generation family tradition. As clowns and acrobats the family for over 300 years have been enchanting audiences all over the world. Javier, Pedro and Ramon are the first in the family, however, to perform a foot juggling act, known as the Icarian Games. It took them over five years of training, under their father Pedro Santos Padeiro to master this thousand-year-old discipline.

The Santos’ foot juggling act was publicly presented for the first time on June 2, 1993, at the Circus Bush-Berlin.

Javier first stepped on a stage at the age of one-and-a-half as a clown in the family clown act. At the age of eight he made his second stage appearance. This time in an act created by his father. Four years Later, father and son participated in the 13th Festival du Cirque de Monte-Carlo. Aged eleven he then began to train and master the art of foot juggling.

Twin brothers Ramon and Pedro Santos both first stepped on stage at the age of two, as clowns playing a saxophone in their fathers clown act. One year later whilst playing around, the twins started to sit on their older brother (Javier) feet. An idea to create an Icarian Games act came from an artist, who was performing in the same show as their father Pedro. Having no clue of Icarian Games techniques, the same artist showed them a video of the Rios Brothers, who were the greatest foot jugglers of all time. Inspired by what they saw, Javier, Pedro and Ramon decided to follow in their footsteps.

Last spotted performing with Cirque Du Soleil in Varekai.

Kit Chatham – CDS Corteo Drummer Interview

Christopher “Kit” Chatham is currently the Drumset/Percussionist for Cirque du Soleil’s touring show, Corteo, presently touring the US and Canada. With a specialty in the fusing of multiple styles and cultures, Kit utilizes his background in classical, world, commercial and electronic percussion to create a sound that is uniquely his own. Kit’s experience in many forms of percussion, including unique ethnic percussion, orchestral percussion, and marching percussion makes him a highly sought after performer & clinician.

See the video interview on the Vic Firth website at:

http://www.vicfirth.com/artists/chatham.html

Yo Kit – Great interview! I’m on the  Macau I CDS gig so say hi when you get a chance and drop an email. I’m sure they would also love it if you could drop a line at www.DrumDogs.com – Thanks!

Fender to Acquire Kaman

Fender Musical Instruments Corporation (FMIC) announced today that it has entered a definitive agreement to acquire Kaman Music Corporation (KMC). FMIC agreed to purchase Kaman Music Corp., a wholly owned subsidiary of parent company Kaman Corp. (NASDAQ-GM: KAMN) for approximately $117 million in cash, subject to specified post-closing purchase price adjustments. Closing is expected to occur prior to January 1, 2008.

Kaman Music Corp. is the preeminent independent U.S. distributor of musical instruments and accessories, offering more than 20,000 products for amateurs and professionals. KMC owns Ovation Guitars, LP and Toca hand percussion products, Gibraltar Hardware, Genz Benz Amplification, Hamer Guitars, and is the exclusive U.S. sales representative for Sabian Cymbals, and exclusive worldwide distributor of Takamine Guitars and Gretsch Drums.

“We are delighted to welcome the Kaman Music Corporation into the Fender Family,” said Bill Mendello, Chairman and Chief Executive Officer of Fender Musical Instruments Corp. “KMC is one of the most respected companies in the musical instrument industry. We have very similar cultures that have been developed over many years. The distribution expertise that Kaman Music brings to the music marketplace will complement and strengthen FMIC’s service to its dealers and consumers.”

Kaman Music Corporation will continue to be led by current President, Edward Miller. Miller has 35 years of experience with Kaman, having joined the company in 1972 and later serving as Executive Vice President and Chief Operating Officer. He was appointed President of Kaman Music Corp. in June of 2007.

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