Oct 13

Ups and Downs: “Bat Boy: The Musical”

Photo of cast by Jim Sabitus.

Presented by the Umbrella Stage Company 
Story and Book by Keythe Farley and Brian Flemming 
Music and Lyrics by Laurence O’Keefe
Directed by Jeremy Johnson
Music directed by Jeff Kimball
Choreography by Sara Andreas

September 25 – November 8, 2026
Umbrella Arts
40 Stow St.
Concord, MA 01742

Online playbill

Approximate run-time: 1h 55m, 15m intermission

Critique by Diana Lu

CONCORD, Mass. — Bat Boy: the Musical has the dubious yet rarefied honor of being the worst show I’ve ever seen. This is not altogether bad publicity: it’s managed to stay rent-free in my brain all week. I fully expect to think about this show at least once a month for the rest of my life. Perhaps not my Roman Empire, but certainly my Portuguese, or Dutch East Indies Empire.

Inspired by an infamous 1992 tabloid, this 1997 off-Broadway musical tells the story of a half-human, half-bat child found in a cave. The bat boy (Johnny Shea) is taken in by a village veterinarian’s kindly wife (Amy Barker), who teaches him manners, BBC English, and how to give and receive love. The fanatically religious townsfolk alternately revile and accept the Bat Boy, whose primary conflict is wrestling with his deadly vampiric nature. Mayhem and hilarity ensue. Continue reading →

Aug 28

Gonzo Greatness: YOUNG FRANKENSTEIN

Tommy Labanaris (Dr. Frederick Frankenstein) and Brian Padgett (The Monster). Photos © Paul Lyden

Presented by North Shore Music Theatre
Book by Mel Brooks and Thomas Meehan
Music and lyrics by Mel Brooks
Original Direction & Choreography by Susan Stroman
Direction and choreography by Kevin P. Hill
Musical direction by Milton Granger

August 15-27, 2017
62 Dunham Road
Beverly, MA
NSMT on Facebook

Review by Craig Idlebrook

(Beverly, MA) Sometimes, you know you’re in for a great night of theater with the very first line of a play; with Young Frankenstein, playing at the North Shore Music Theatre, you know it before the play even starts. Even the pre-play announcements and opening credits, told by a disembodied voice and projected onto a grey shroud, suck you into the campy, spooky, sexy world that Mel Brooks creates. Continue reading →