How do you adopt a sadistically violent book for the stage? Tone down the gore and dial up the satire. And that’s how Broadway’s “American Psycho: The Musical” ended up less about a serial killer than about late-’80s excess and synth-pop tunes — Manolos, Milli Vanilli and murder!
As Patrick Bateman, the sociopath Christian Bale played in the 2000 movie, Benjamin Walker is toned and resplendent in his tighty whities, which is how we see him half the time. This investment banker loves status symbols and hates humankind, especially his fellow finance bros and pretty much all women — including his fiancée, played with hilarious archness by Heléne Yorke.
Bret Easton Ellis’ 1991 novel hedged its bets over whether Bateman’s actually killing people or just fantasizing about it, whereas the musical clearly lands on the side of hallucination. The violence is there — the ax murder of Bateman’s rival Paul is a blood-splattered highlight — but the show makes it clear we’re inside the killer’s head.
The second act flags — a sentimental ballad about Patrick’s childhood is a low point — but the score is strong, incorporating snippets from ’80s hits like Huey Lewis’ “Hip To Be Square.” Duncan Sheik’s synthesizer-heavy music — radical by Broadway standards — doesn’t really need them to summon that era: From frothy Thompson Twins–type numbers to ominous Gary Numan–esque washes, he finally delivers a worthy follow-up to his “Spring Awakening.”
A comic “American Psycho” you can dance to? Somehow, it works.