Theater Review: 'American Psycho' by WestRep Stage

Review by Connecticut Critics Circle member and Patch Contributor Nancy Sasso Janis

The WestRep Stage at Western CT State University has brought the musical satire “American Psycho The Musical” to the mainstage at the VPAC on their Westside campus. The newly renamed WestRep worked with the respected WCSU Department of Theatre Arts, with the production directed by Tim Howard.

I knew nothing about this musical with a book written by Roberto Aguirre-Sacasa, although I am familiar with the work of Duncan Sheik, who wrote the music and lyrics. Sheik is the composer of the music for “Spring Awakening.” The source material for the musical version is a novel by Bret Easton Ellis, which was made into a 2000 horror film.

Professor Howard shares in his Director’s Note that he saw the closing performance of “American Psycho” on Broadway with his acting mentor. He describes the Broadway version as “[s]tylish, edgy, political, unapologetic, and satire with a capital S.” Howard also mentions his appreciation of the score by Duncan Sheik, which is a mix of original electronic pieces and familiar music from the 1980s. “If you saw my productions of ‘Angels in America: Parts I and II’ at WestRep Stage, you might understand my appreciation for this genre of music from a historic standpoint–not to mention its theatricality.”

“What is ‘American Psycho: The Musical '?’ A performance piece? A rock concert? A costume parade? Or just innovative, ‘outside-the-box’ theatre?” –Tim Howard, Director

From the virtual program: The musical tells the twisted tale of Patrick Bateman, a young Wall Street banker with “impeccable tastes and unquenchable desires…But at night, Patrick takes part in a darker indulgence, and his mask of sanity is starting to slip.”

Javen Levesque (“Legally Blonde,”) a BFA Musical Theatre major from Portland, CT, bears the burden of portraying the psycho himself, Patrick Bateman. The young actor masters the crushing amount of lines he must deliver in his role as he brings his character to life in a performance of a lifetime. Bateman often breaks the fourth wall, addressing the audience directly with frightening intensity.

Paige Gualandi (“Something Rotten!,”) a BFA Musical Theatre major from Milford, PA, is beautiful in the role of Bateman’s mousy secretary Jean and gets to solo on “A Girl Before.”

Kudos to the talented Zola Kneeland, a BFA Musical Theatre major from Orange, CT, on her performance as Evelyn Williams, Bateman’s girlfriend that he detests. Kneeland played Hannah and Ethel Rosenberg in the WCSU production of “Angels of America” and was part of “Oy Band” at Goodspeed Musicals. Marisa Curti, a BFA major from Fairfield, plays her friend Courtney Lawrence.

Brian A. Cummins (“Sunday in the Park with George,”) a BFA Musical Theatre major from Illinois, plays the Yuppie Tim Price and impressively serves as the understudy for the role of Patrick Bateman. Athan Fischer (“Curse of the Starving Class,”) plays Craig McDermott, Tom Cruise (yes, THAT Tom Cruise) and an early model of an ATM. Zachary Spreng, who played Henry in “Next to Normal,” shines as Bateman’s coworker Luis Carruthers. Jeremiah Godley, who played Dr. John Prentice in “Guess Who’s Coming to Dinner,” does well in the role of Paul Owen, a male colleague of color.

Logan Perrault, a BFA major from Orlando who played Roy Cohn in “Angels in America Part Two,” plays Bateman’s brother Sean and Nora Watson, a BFA major from Trumbull, plays Vanden.

Senior Savannah Wright, a BFA major from South Carolina, portrays a video store (remember those?) clerk and Sabrina. Azayda Lynt appears as Svetlana, Bateman’s mother and Mrs. Wolfe. Majella Maltempi (“Angels, Part Two”) from Rockland County, NY, takes on the roles of Hardbody Waitress, Hardbody Trainer (think Jane Fonda) and the prostitute Christine. Alex Lee from Old Lyme, appears as Al and Det. Donald Kimball who investigates the murders. Chanelle Jaime-Guzman, a BFA major from Lawrence, MA, plays Victoria, and Olive Conover, a BFA major from Newburgh, NY, and Jessica Ragucci, who played Joanna Drayton in “Guess Who’s Coming to Dinner,” make up the ensemble.

Dr. Justin P. Cowan, Department Chair, Associate Professor, is the music director for the production, and works by himself as the orchestra/conductor. On two video screens, he conducts the choral numbers, runs the wonderful recorded tracks provided with the show license, and fills in with portions of the keyboard score. It all works well and the harmonies of the company songs are flawless.

The choreography by Jen Turey is imaginative and well-executed, adding another layer to the musical numbers, especially in the first act.

The set design by Clifton Chadwick is stunning and sleek, opening to reveal a multilayered space for various scenes. With drop in pieces, it becomes the main character's home and there is a wide screen above the stage that reflects a cityscape. When the clear plastic screens are lowered, we know that what is to come cannot be good.

And the lighting…Cameron Filepas has designed one breathtaking scene after another, with red lighting that bears some of the burden of the bloodiness.

Costumes by Kiyoshi Shaw are stylistically on point for the time period, ranging for high-end office wear to amazing club kid ensembles to plenty of undergarments for everyone for the frequent (un)dressing onstage. The costume design, hair and makeup develop the authentic look of a New York Yuppie. The prop table includes inflatable pool floats for the Hamptons scene, and a chain saw. The sound design by Gabriel Bennett had a few glitches at the beginning of the performance that were quickly corrected.

In searching for the “tonality” for this production, Howard indicates that he wanted to bring something different from the Broadway version. “The physical vocabulary –the choreography–is like an additional character in the show, often revealing the disturbing psyche of these individuals, as do the technical elements…” The director also points out the parallels and foreshadowing that the writing of this piece reveals in terms of what our “democracy” has become. He encourages his audience to draw the parallels as they watch the performance.

At the Saturday evening performance, I had the pleasure of speaking with actor/director and WCSU graduate Michael Ricciardone in the lobby. The talented director raved about his production.

There is much to process about this story in this extraordinary musical that is not for children. The dramaturgy team has included an insightful note in the printed program. The show runs approximately 150 minutes, including a 15-minute intermission. The production includes the use of light flashes, haze and physical violence. I love that the recorded house announcements are offered in Spanish first, then in English. Performances of “American Psycho” continue through Oct. 19 on the MainStage Theatre of the Visual and Performing Arts Center at WCSU in Danbury, CT. Seating is reserved for this production, so be sure to purchase your tickets in advance. For tickets and more information, visit westrepstage.org/event/american-psycho-the-musical/