Bat out of Hell at Regent Theatre Stoke on Trent Review
DISCLOSURE – TICKETS TO SEE THE SHOW WERE GIFTED TO THE REVIEWER AND GUEST FOR THE PURPOSES OF WRITING THE REVIEW
Reviewed by Lindsay Burton
As I walked into the Regent Theatre in Stoke, I instantly knew the evening was going to be unforgettable — we were greeted by a roaring line-up of Harley Davidsons and other stunning iron beasts. It was spectacular and made the evening completely unforgettable! I’ve always loved the theatre and have a soft spot for Meat Loaf ballads, so having seen this show before, I already knew that this rock-infused love story built around his music was a sure-fire hit. What made me even more excited this time was knowing the incredibly talented Glen Adamson would be leading the cast.
Before I even get into the storyline or the performances, massive shout out to stage and costume designer Jon Bauser, and lighting designer Patrick Woodroffe. Their amalgamated artistry made this production visually outstanding. The set was richly detailed and immersive, while the costumes were bold, alluring, and perfectly matched to each character—enhanced, of course, by an exceptionally good-looking cast!
Jim Steinman and director Jay Scheib’s Bat Out of Hell thrusts us into the world of “The Lost”—a gang of youth cursed to remain forever 18. Among them is Tink (Carla Betran), a vulnerable member of The Lost – frozen between life and death, taunted by the awareness that he’ll never be like Strat (Glenn Adamson), their courageous, revolutionary chief. Strat falls for Raven (Katie Tonkinson), a privileged female locked away by her sedative-happy, overprotective parents fuelling even more frustration in the already troubled Tink.
The dystopian world unfolds in a city devastated by chemical warfare: crumbling buildings plastered with graffiti, broken televisions scattered about, and beneath it all, the shadowy, labyrinthine sewers where the Lost eke out their existence. Above ground, Raven’s privileged dad regards them as no less than diseased rats that need removing from existence – Raven’s mom realises her daughter’s feelings have already been decided at the tender age of 17.
To help smooth out parts of the plot, Steinman added two original songs to the score, which was already filled with tracks from all three Bat Out of Hell albums—as well as the iconic “Dead Ringer for Love.” Steinman had a remarkable talent for transforming everyday phrases—like You Took the Words Right Out of My Mouth or Objects in the Rearview Mirror May Appear Closer Than They Are—into sweeping, emotional anthems. His music was inherently theatrical, so it feels only natural to see it brought to life on stage.
As expected, the title track drives Strat’s dramatic effort to free Raven from her upper class prison. For me, as it was the first time I watched this show 4 years ago – the real highlight was It’s All Coming Back to Me Now—not just a duet, but an electrifying quartet with Raven, Strat, and her emotionally conflicted parents. Experiencing the song this way was so different yet so captivating (and discovering it was originally Steinman’s, not just a Celine Dion classic made my daughter incredibly excited). Making Love Out of Nothing At All— a song I had grown up with – was another highlight for me. Like I mentioned in my initial review, and my opinion remains unchanged—Glenn Adamson completely commands the stage as Strat, bringing wild hair, relentless energy, and an electrifying, raw presence. I truly believe he was made for this role; I can’t picture anyone else embodying Strat quite like him.
Katie Tonkinson delivered an outstanding performance as Raven, transforming the role into something far more powerful than the usual heroine in trouble. Their duet, For Crying Out Loud, was a superb platform of vocal strength and deep passion. Georgia Bradshaw (Zahara) and Ryan Carter (Jagwire) also delivered an amazing performance, especially in Two Out of Three Ain’t Bad. And I have to mention the powerful performance and vocals of Rob Fowler as Falco and Sharon Sexton as Sloane – such brilliant voices and they both complement each other in all their scenes. The UK tour’s casting was perfect—every performer appeared tailor-made for their role. Despite the set’s intricacy, the choreography was delivered with outstanding technique and precision.
Although we were asked before the show not to sing along, many in the audience quietly mouthed the words to the familiar ballads. The music repeatedly reminded me of how genuinely exceptional and unique Steinman was—as a composer, lyricist, and visionary. And Meat Loaf’s iconic performance is what makes these songs resonate so deeply.
A brief warning: due to sensual dance and mature themes of adult frustration and fading youth, this performance is not appropriate for younger viewers.
As always, 5/5 from me – I absolutely love this show and will watch it again soon!
Rating: 5/5
Bat out of Hell is currently running at The Regent Theatre in Stoke-on-Trent and will be until the 5th July 2025. Tickets start from £15 and can be purchase from https://www.atgtickets.com/shows/bat-out-of-hell/regent-theatre/calendar/2025-07-01
You cannot miss this event – ensure you have at least watched this show once in your life time – I guarantee it will not disappoint!