SEE IT: Monumental’s “American Psycho” is to die for
“Insightfully on the pulse of our nation’s issues, Monumental’s production may be the most important of our area’s current offerings for audiences to see.”
That sentence appeared in my review of Monumental Theatre Company’s last production, 2023’s Spring Awakening. A year later, I still reminisce fondly on that production, brimming with talented young artists and top-of-mind subject matter, such as censorship in education, reproductive health, and more.
Among Monumental’s extraordinary gifts is their ability to accomplish more with a single annual production than other local companies attempt with a multi-show season. They select an incredibly timely and resonant piece and execute it exquisitely with brilliant local artists. Whether it is their incredible foresight or simply great taste, an experience at Monumental always delivers impressive artistry with impacting relevance to our country’s current moment.
I did not expect that to be the case with American Psycho. Admittedly, I was puzzled and unimpressed when they announced this production. But upon leaving the theatre, my confidence in their vision had been restored, if not invigorated. It quickly became evident that this is the show audiences need to see right now.
(Forgive me, but I’m about to get political.)
“I could stand in the middle of Fifth Avenue and shoot somebody, okay, and I wouldn’t lose any voters, okay?”
At a campaign rally in January 2016, then-presidential candidate Donald Trump made this infamous quote, foreshadowing his ability to get away with actions no matter how illegal, unethical, or unprofessional. With the potential for a second presidential term within reach, and now further enabled by last week’s Supreme Court ruling on presidential immunity, Trump wouldn’t just “get away” with his heinous acts — he would be free to do so.
The above quote is one of many egregious statements Trump has made that people have laughed off and dismissed as they continue to elevate him. Although Trump most likely has not shot someone on Fifth Avenue, American Psycho’s Patrick Bateman has done that (and worse). He openly admits it — coolly, casually, and consistently — to all the colleagues and lovers around him, and no one bats an eye. They either hear the wrong thing, shrug it off, or simply play along as Patrick’s victims pile up.
“Even if this story
Is overwrought and gory
It’s not a fable, it’s not an allegory…”
Written and first produced in 2013 to mixed reception, American Psycho may finally be having its moment in 2024. Examining a successful New York City businessman’s extreme ambition, obsession with self-image, and unrestrained criminality (along with the individuals that carelessly enabled him), this violent musical is as uncomfortable as it is familiar. It may claim to not be an allegory, but even in its exaggeration, this show reminds audiences how the wealthy and powerful can (figuratively and, in this case, literally) get away with murder. Tasteful yet unflinching, Monumental Theatre Company has crafted an intense, immersive production with exceptional vision. Artistically and thematically riveting, this American Psycho is certain to get your blood pumping.
Let’s set the scene: It is 1989, and 26-year-old investment banker Patrick Bateman (Kyle Dalsimer) is determined to achieve the highest level of physical, professional, sexual, and societal excellence. Driven by self-image and status, Patrick lives luxuriously among NYC elite, yet the “best” never seems to be good enough. He seeks sex with prostitutes instead of his girlfriend Evelyn (Jordyn Taylor). He deems his business cards and investment accounts inferior to those of workplace rival Paul Owen (Noah Mutterperl). Overcome with rage and resentment on his 27th birthday, Patrick gives into his impulses, becoming a rampant serial killer in front of everyone’s eyes.
My expectations were low for this musical adaptation of the acclaimed 2000 film starring Christian Bale, itself an adaptation of Bret Easton Ellis’ controversial 1991 book. For one, I am exhausted by and uninterested in Hollywood movies becoming Broadway musicals. And in terms of gore and masochism, American Psycho makes Sweeney Todd look family-friendly. Even now, I still consider it an odd choice for musical theatre storytelling. Yet… it works. It satisfies my theatrical requirement for a compelling story, told with a unique point-of-view. With Duncan Sheik’s music and lyrics and Roberto Aguirre-Sacasa’s book, the show does not shy away from how ridiculous the story is: a narcissistic, flagrantly obvious serial killer surrounded by blindly self-involved, materialistic elite who have every opportunity to stop him, but do not. Conceptually brilliant, the show’s storytelling finds a terrific balance between camp and suspenseful dread. The book’s off-guard humor and the lyrics’ witty collage of references and wordplay are the perfect complement to the plot’s horrific violence. As with his work on Spring Awakening, Sheik’s sophisticated music is uniquely hypnotic, with a brooding, all-electric 80’s inspired score. A richly theatrical goldmine, American Psycho’s stylistic worldbuilding could not have found more capable hands than with Monumental.
This production is a strikingly harmonious visionary accomplishment, showcasing the very best of Monumental’s scintillating artistry. The Ainslie Arts Center’s intimate black box theatre has been wholly transformed into an immersive NYC club. The venue’s walls are draped in clear plastic sheets which, along with the stage’s pale gray coloring, create an ominously chic atmosphere. Audience members can help themselves to a drink at the onstage bar and sit either in the vivid red cushioned booths or in the separate riser seating. A DJ booth is positioned within the upstage wall. A small, elevated platform resides centerstage, not unlike what you would find at a gentlemen’s club. Scenic designers Laura Valenti and Michael Windsor, the latter also being the production’s director, have framed this story in an ingeniously conceived stage environment that is as versatile as it is sinister. Having laid the groundwork, the production quickly becomes an electrifying theatrical thrill ride.
I am in awe of Michael Windsor’s robust directorial skill set. From an ever-present surveilling ensemble to Patrick Bateman placing himself on a literal pedestal above everyone else, the elaborate imagery Windsor creates in every single moment made for a thoroughly compelling watch. Further invigorating the staging was Ahmad Maaty’s dynamic choreography. In contrast to the rather static and stiff Patrick, the ensemble was greatly physical, from lush sensual sways to sharp energetic gesticulation. In my notes, I quickly jot down “corporate rave”, “chainsaw ballet orgy”, and “swirling dick-measuring contest” — the choreographic variety Maaty developed was exhilarating. The costume design by Elizabeth Morton utilized a muted business-attire palette, primarily black, white, and gray, mirroring the set’s sterility and allowing the red of Patrick’s tie and his bloody horrors to pop. Although restrained in color, the costumes were vibrantly 1980s in style: shoulder pads, poofy sleeves, baggy suits, and countless skirts delightfully flooded the stage. Helen Garcia-Alton’s lighting design elevated each scene’s ambience with intense spectacle, including violent strobe light, vibrant washes of color, and strikingly sleek spotlights. With much of the show’s plot centered on physical and sexual violence, Bess Kaye’s fight and intimacy choreography was truthful yet tasteful, presenting Patrick’s horrific acts with distilled detail. In every element, the creative scope of this production’s design was breathtaking.
Once more, Monumental has assembled a fantastic group of local performers who infuse this work with palpable excitement and nuanced characterizations. Stoic yet volatile, Kyle Dalsimer’s intricately layered performance made for a terrifyingly irresistible Patrick Bateman. While his steady, mechanical speech and menacing physicality were hair-raising, Dalsimer equally excelled with the role’s humor, providing a compellingly well-rounded interpretation. As his vivacious, egocentric girlfriend Evelyn, I could not look away from Jordyn Taylor. Phenomenally bratty and occasionally sultry, her spirited performance made me cackle. In his variety of roles, but primarily as the suave and pompous Paul Owen, Noah Mutterperl was impressively versatile — we loved to hate him. As Patrick’s secretary Jean, Kaeli Patchen brought captivating sincerity to the role. The only character that makes Patrick show restraint, her chemistry with Dalsimer was transfixing. The entire ensemble of talented performers all had individual moments to shine, but nothing was as stunning as their haunting rendition of Phil Collins’ “In the Air Tonight”, which I would pay just to hear one more time.
As Maya Angelou once said, “When someone shows you who they are, believe them the first time.” Time and time again, Patrick Bateman blatantly exposed his intentions and his deeds. In this fictitious story, he did shoot someone on Fifth Avenue and lost nothing — not his job, his community, or his freedom. We now live in a world where yesterday’s fiction is getting too close for comfort to today’s reality. As gruesomely violent and absolutely ludicrous as American Psycho is, it may just be enough to open our eyes. This production could not have come at a more important time. Truly monumental, it is my UnProfessional Opinion that you SEE American Psycho.
American Psycho
Music and lyrics by Duncan Sheik; book by Roberto Aguirre-Sacasa
Directed by Michael Windsor
Monumental Theatre Company
June 28 — July 21, 2024
2 hours and 30 minutes, with a 15-minute intermission
