When my husband announced that his company holiday party this year was 80s themed, my first thought was that it had been done before. I’d donned enough leg warmers and sported enough side ponytails at enough parties. My second thought was why not the 90s? Surely in 2023 people want to worship another decade? But when I read Chicago was getting American Psycho: The Musical, I dug out my favorite oversized blazer and headed to Wicker Park to watch the book-turned-movie-turned-musical that encapsulated and glorified the very decade I dared to criticize..
The cast was led by the showstopping talent of Kyle Patrick as Patrick Bateman, the stylish and sadistic center of American Psycho. Patrick’s performance was riveting, one couldn’t take his eyes away from him. He perfectly captured Bateman’s devilishly attractive and hypnotic presence, pulling you in with his charm and wit, turning psychotically evil effortlessly before falling back into his charm. The range Patrick displayed as Bateman was nothing short of breathtaking. The murderous chemistry between Patrick and John Drea as his nemesis Paul Owen was haunting and electric, their bravados embodying the 80s and their fight staging choreography scarily convincing. The play was accompanied with an indulgent soundtrack with original numbers like “Cards” and “Not a Common Man” along with seminal 80s bangers Everybody Wants to Rule the World and of course Hip to Be Square. You were dancing in your seat along with the cast.
The play was set appropriately on a cat walk, white business cards adorning the path, the cast using the cat walk to seamlessly transition from the Tunnel nightclub Tunnel, to the gym, to the office, to Paul Owen’s apartment, the entrances draped cleverly with white tarp. The choreography, directed by Breon Arzell, was nothing short of art. Arzell was able to take extremely difficult and violent scenes and make them hauntingly captivating. In one particularly sexually violet scene (read the book or watch the film if you are curious about this referenced scene), an adonis-like Patrick puppeteered two women, played by Emily Holland and Quinn Simmons, through a series of graceful movements, simulating a sexual throupling without being obscene, and navigating the violence with dignity, masked through the art of dance. Such scenes were made to be very effective thanks to Kokandy's incredibly talented Intimacy Coordinate Kirsten Baity and Fight Choreographer Kate Lass.
(left to right) Kyle Patrick and John Dreain Kokandy Productions’ Chicago premiere of American Psycho: The Musical
The book-turned-movie-turned-musical has real staying power. Comments Director Derek Van Barham, It’s horror, it’s satire, it goes for the guts and getsinto your head. And it’s all tinged with that David Lynchian unease of ‘What is actually happening?’ Extending that question of uncertainty into the live experience, we’re playing with what we show vs. what we don’t show, what you see vs. what you think you saw. A lot is going to be left up to the audience.” American Psycho: The Musical has many themes that are still applicable and relatable today. If I concede that the musical glorifying the 80s is still relevant and significant in 2023, then by proxy the 80s are still relevant and significant today, meaning I must find neon bangle earrings to match my leg warmers this holiday season…
Kokandy Production's American Psycho: The Musical runs through November 26, 2023 at The Chopin Studio Theatre (1543 W. Division St., Chicago). Tickets are available at https://www.kokandyproductions.com/american-psycho/.
*Extended through December 10th
