In the musical Bye Bye Birdie there is a line where the father character Harry McAfee says “Call the Shadow. Look him up under Lamont Cranston.” An orchestra member asked me who Lamont Cranston was and I didn’t know – so here’s everything you wanted to know about Lamont Cranston.
Lamont Cranston was one of the alter-egos of THE SHADOW. Just like Superman had a real world identity of Clark Kent.
ABOUT ALTER EGO LAMONT CRANSTON
In print, The Shadow was born Kent Allard, a famed aviator. During World War I, Allard was both a flying ace and a spy who fought for the French, and known by the alias of The Black Eagle (“The Shadow’s Shadow”), although later stories claim his alias was The Dark Eagle (“The Shadow Unmasks”). After the war, Allard sought a new challenge, and decided to wage war on criminals, rather that simply remain a pilot or return to the military (also revealed in “The Shadow Unmasks”). He faked a plane crash and Allard’s death in the South American tropical jungles. He then returned to the United States, arriving in New York City and adopting numerous identities to cloak his return.
One of these was Lamont Cranston, “wealthy young man about town.” In fact, Cranston was a separate character; Allard frequently disguised himself as Cranston and adopted his identity (see the stories “The Shadow Laughs” and “The Shadow Unmasks”). While Cranston traveled the world, Allard assumed his identity in New York. In their first meeting, with Allard/The Shadow in bed recovering from wounds, he threatens Cranston, saying that he has arranged to switch signatures on various documents and other means that will allow him to take over the Lamont Cranston identity entirely unless Cranston agrees to allow Allard to impersonate him when he is abroad. Cranston agrees. The two men sometimes meet in order to impersonate each other (see Crime over Miami). Apparently, the disguise worked well because Allard and Cranston bore something of a resemblance to each other (see “Dictator of Crime.”)
ABOUT THE SHADOW
The Shadow is a fictional character created by Walter B. Gibson in 1931 in a semimonthly series of pulp magazines. The first story was titled “The Living Shadow”. The character is one of the most famous of the pulp heroes of the 1930s and 1940s — made most famous through a popular radio series in which The Shadow was originally played by Orson Welles. The Shadow has also been featured in comic books, comic strips, television, and at least seven motion pictures. Still, The Shadow is most highly regarded for its radio years, in which pulp crime fiction received perhaps its most compelling broadcast interpretation.
Even after decades, the unmistakable introduction from The Shadow, intoned by announcer Frank Readick, has earned a place in the American idiom: “Who knows what evil lurks in the hearts of men? The Shadow knows!”
The haunting theme song, played on an organ, was “Le Rouet d’Omphale” (Omphale’s Spinning Wheel) by Saint-Saens.
In the Rocky Horror Show musical during the “Floor Show” segment there’s a line Janet sings: “God Bless Lily St. Cyr”. I was curious what the reference was about, so here’s info about Lily St. Cyr. (In the show it is spelled Lily St. Cyre, other incorrect spellings include Lilly Saint Sear, Lilly Saint Cear and Lily St. Seer). Cyr is pronounced like “seer”.
Lili St. Cyr (June 3, 1917 or 1918 – January 29, 1999), was a prominent American burlesque stripper.
Birth name Willis Marie Van Schaack
Born June 3, 1917
Minneapolis, Minnesota
Died January 29, 1999
Los Angeles, California
Spouse Ted Jordan
Early years
She was born as Willis Marie Van Schaack in Minneapolis, Minnesota in 1917 or 1918. She had a sister, Rosemary Van Schaack Minsky. Her grandparents, the Klarquists, reared her and her two show business sisters, Dardy Orlando and Barbara Moffett.
Having taken ballet lessons throughout her youth, she began to dance professionally as a chorus line girl in Hollywood. Unlike other women who have stroke-of-luck stories about being plucked from the chorus line and selected for a feature role, St. Cyr had to beg her manager at the club to let her do a solo act. From her self-choreographed act she eventually landed a bit part at a club called the Music Box in San Francisco, with an act called the Duncan Sisters. It was here that she came to a revelation: A dancer’s salary was only a small fraction of what the featured star’s salary was. The difference? The featured star was nude.
From the 1940s and most of the 1950s, St. Cyr with Gypsy Rose Lee and Ann Corio were the recognized acts in striptease. St. Cyr’s stage name is a patronymic of the French aristocracy, which she first used when booked as a nude performer in Las Vegas. Though she is rather obscure today, her name popped up regularly in 1950s tabloids: stories of her many husbands, brawls over her, and her attempted suicides.
St. Cyr was married six times. Her best-known husbands were the musical-comedy actor Paul Valentine, restaurateur Armando Orsini, and actor Ted Jordan in 1955.
Career
St. Cyr’s professional career started as a chorus line dancer at the Florentine Gardens, in Hollywood. Over the ensuing years and in a variety of different venues, many of St. Cyr’s acts were memorable, with names like “The Wolf Woman”, “Afternoon of a Faun”, “The Ballet Dancer”, “In a Persian Harem”, “The Chinese Virgin”, However, Quebec’s Catholic clergy condemned her act, declaring that whenever she dances “the theater is made to stink with the foul odor of sexual frenzy.” The clergy’s outcry was echoed by the Public Morality Committee. St. Cyr was arrested and charged with behavior that was “immoral, obscene and indecent.” She was acquitted but the public authorities eventually closed down the Gayety Theatre where she performed. In the 1980s, St. Cyr wrote a French autobiography, “Ma Vie De Stripteaseuse.” In the book, she declared her appreciation for the Gayety Theatre and her love for the city of Montreal.
While performing at Ciro’s in Hollywood, (billed as the “Anatomic Bomb”), St. Cyr was taken to court by a customer who considered her act lewd and lascivious. In court, St. Cyr insisted to the jury that her act was refined and elegant. As St. Cyr pointed out, what she did was slip off her dress, try on a hat, slip off her brassiere (there was another underneath), slip into a negligee. Then, undressing discreetly behind her maid, she stepped into a bubble bath, splashed around, and emerged, more or less dressed. After her appearance as a witness, as a newspaper account of the time put it, “The defense rested, as did everyone else.” St. Cyr was acquitted.
While St. Cyr starred in several movies, an acting career never really materialized. In 1955, with the help of Howard Hughes, St. Cyr landed her first acting job in a major motion picture in the Son of Sinbad. The film, described by one critic as “a voyeur’s delight”, has St. Cyr as a principal member of a Baghdad harem populated with dozens of nubile starlets. The film was condemned by the Catholic Legion of Decency. St. Cyr also had a role in the movie version of Norman Mailer’s The Naked and the Dead in 1958. In this film, St. Cyr plays ‘Jersey Lili’, a stripper in a Honolulu night-club and girlfriend of a soldier who boasts to his pals that he has her picture painted inside his groundsheet. Regrettably, heavy edits of St. Cyr’s night-club routine by censors result in some choppy editing in an otherwise finely crafted film. But St. Cyr’s movie career was short lived, and typically she settled for playing a secondary role as a stripper, or playing herself. Her dancing is featured prominently in two Irving Klaw films, “Varietease” and “Teaserama.”
St. Cyr was also known for her pin-up photography, especially for photos taken by Bruno Bernard, known professionally as ‘Bernard of Hollywood’, a premier glamor photographer of Hollywood’s Golden Era. Bernard said that Cyr was his favorite model and referred to her as his muse.
Retirement
When St. Cyr retired from the stage she began a lingerie business in which she would retain an interest until her death. Similar to Frederick’s of Hollywood, the “Undie World of Lili St. Cyr” designs offered costuming for strippers, and excitement for ordinary women. Her catalogs featured photos or drawings of her modeling each article, lavishly detailed descriptions, and hand-selected fabrics. Her marketing for “Scanti-Panties” advertised them as “perfect for street wear, stage or photography.” St. Cyr spent her final years in obscurity and in seclusion, tending to her cats.
Death
She died in 1999 under her maiden name “Willis Marie VanSchaack” in Los Angeles.
Legacy
After St. Cyr’s death, with a renewed interest in burlesque, and especially in Bettie Page, legions of new fans began rediscovering some of the dancers in Irving Klaw’s photos and movies. During this time A&E devoted a special to burlesque in 2001 which included a piece on St. Cyr.
Influences and cultural references
In 1989, one of St. Cyr’s husbands, Ted Jordan, wrote a biography of Marilyn Monroe entitled “Norma Jean: My Secret Life With Marilyn Monroe”, in which Jordan claims that St. Cyr and Monroe had a lesbian affair. The claim is widely disparaged by Monroe biographers. The publisher of Jordan’s book, Liza Dawson, editor for William Morrow and Company, makes a more credible claim in an interview with Newsday in 1989, stating that “Marilyn very much patterned herself on Lili St. Cyr – her way of dressing, of talking, her whole persona. Norma Jean was a mousy, brown-haired girl with a high squeaky voice, and it was from Lili St. Cyr that she learned how to become a sex goddess.” Lili St. Cyr is mentioned in the musical “The Rocky Horror Show”. The final line of the song “Don’t Dream It”, (sung by the character Janet Weiss, as played in the film version by Susan Sarandon) is “God bless Lili St. Cyr!”
Filmography
* Love Moods (1952)
* Bedroom Fantasy (1953)
* Striporama (1953)
* Varietease (1954)
* Teaserama (1955)
* Son of Sinbad (1955)
* Buxom Beautease (1956)
* The Naked and the Dead (1958)
* I, Mobster (1958)
* Runaway Girl (1962)
Mount Vernon, WA – META Performing Arts presents Bye Bye Birdie November 16-25, 2007 at McIntyre Hall in Mount Vernon, WA. Come down to the orchestra pit and say hello!
SHOWTIMES:
Fri Nov 16 – 7:30
Sat Nov 17 – 7:30
Sun Nov 18 – 2pm
Fri Nov 23 – 7:30
Sat Nov 24 – 2pm and 7:30
Sun Nov 25 – 2pm
Bye Bye Birdie is a Tony Award-winning musical with a book by Michael Stewart, lyrics by Lee Adams, and music by Charles Strouse.
Cast list and production credits for META Performing Arts presentation of Bye Bye Birdie in November 2007 at McIntyre Hall, Mount Vernon, WA.
PRODUCTION STAFF
Producer – Kate Kypuros
Assistant Producer – Kristin Jensen
Director – Tracy Petersen
Assistant Director – Mia Calderon
Stage Manager – Ryn Bishop
Vocal Director – Lynette McCormack
Orchestra Conductor – Conrad Askland
Choreographer – John Farrey
Dance Captain – Lauren Riley
Set Designer – Elizabeth Haba
Costume Director – Kathy Gildnes
Lighting Designer – Don Wilcutts
Sound Designer – Kyle Blevins
Fly Captain – Dave Mumford and Karen Pauley
Graphic Design – Kristin Jensen
Photography – Eric Hall and Gary Brown
Rehearsal Pianist – Lauren Lippens
Make-up and Hair – Suzanne Aguilar, Keira Grech and Chelsea Koenig
Costumes – Maura Marlin, Mae Louise Dopps, Barbara Schildts and Gloria McDonald
Set and Prop Build – Elizabeth Haba, Clare Tatarsky, Don Wilcutts, Maura Marlin and Mike Marlin
Sound – Milton Grambo, Mardi Holt, Alex Kypuros and Robert Campbell
Spot – Paul Thelan
ORCHESTRA
Conductor – Conrad Askland
Trumpet I – Cindy Luna
Trumpet II – Nathaniel Voth
Horn – Amanda McDaniel
Trombone – Rob Queisser
Clarinet, Sax – Thomas Harris
Alto Sax – Kyle McInnis
Clarinet, Tenor Sax – Michelle Hanna
Clarinet, Bass Clarinet, Bari Sax – Rebecca Wright
Flute – Linda Slone
Cello – Joe Bischel
Cello – Sharon Sparling
Bass – Marilyn Parman
Bass – Peter Bridgman
Keyboards – Ruth Haines
Piano – Brianne Weaver
Keyboards – Daisy Stewart
Guitar – Luke Hansen
Timpani – Dave Lyon
Drums – Stephanie Straight
BYE BYE BIRDIE CAST
Rosie Alvarez – Sarah Simmons
Albert Peterson – Dustin Moore
Conrad Birdie – Alex Hollingsworth
Kim Macafee – Demi Fair
Mr. Harry Macafee – Clarence Holden
Mrs. Doris Macafee – Cally Johnson
Randolph Macafee – Michael Giles
Mrs. Mae Peterson – Kris Hemenway
Ursula Merkle – Zoey Kypuros
Hugo Peabody – Matthew Thompson
Gloria Rasputian – Sandra Petersen
Mr. Mayor – Andy Golub
Mrs. Mayor – Suzie Clark
Mrs. Merkle – Robin Luif
Alice – Havalah Raven
Deborah Sue – Corinn Holberg
Margie – Eve Berrington
Nancy – Madison Wagoner
Harvey – Jake Updegraff
Bartender Maude – Douglas Zwick
FEATURED DANCERS
Kayla Golub
Alisha Anderson
Alexa McNeal
Courtney Holberg
SHRINERS
Dan Denny
Andy Golub
Geoff Arthur
Bill Waldron
Ron McCarty
Sad Girl – Lauren Reilly
TEEN CHORUS
Conner Crosby
Darah King
DJ Walker
Jasmine Zell
Jessica Pauley
Kelli Bates
Savannah Dills
Alexander Pedroza
Mckenzie Willis
PRETEEN CHORUS
Falon Sierra
Kadin Zenonian
Katie Arthur
Kayla Malcolm
MaKayla Haigh
Olivia Pedroza
Kari Tarabochia
Abigail Ferguson
ADULT CHORUS
Christina South
Germaine Kornegay
Laura Stewart
Vicki McCarty
Ron McCarty
Bill Waldron
Inside cover of Bye Bye Birdie Program – November, 2007
For two and a half years, local music and theatre communities have benefitted from the talents of Conrad Askland. Conrad is the consummate professional: creative, precise, able to balance high expectations with encouraging words and humor.
“Bye Bye Birdie” will be Conrad’s final show in the Skagit Valley for the next few years as he heads out to the far horizons of another continent and culture.
“Friends of Conrad Askland” contributed to a co-sponsorship of “Bye Bye Birdie” as a tribute to the man who has given so much to our community.
Alex Hollingsworth
Andy and Donna Golub
Barbara Askland
Bryan and Kathryn Kay
Cally Johnson
Carol Ann Askland
Clarence Holden
Dan Denny
Dr. Gary Brown
Elfa Gisla
Geoff and Susan Arthur
Kate Kypuros
Kyle Blevins
Jerry Moa
Lindsey and Joe Bowen
Lynette McCormack
Lynn and Frank Handi
Stewart and Lacey Woods
One of Ann Margret’s breakout roles was playing Kim McAfee in Bye Bye Birdie (1963). She’s still touring and going strong. Visit her official website at http://www.ann-margret.com .
Original lobby card for Bye Bye Birdie:
Ann Margret with Elvis on the set of Viva Las VegasÂ
ANN MARGRET DISCOGRAPHY
And Here She Is
Ann-Margret’s first long-player from RCA, 1961. Jazzy orchestra conducted by Marty Paich.
On The Way Up
On The Way Up, her second album, was recorded in Los Angeles and Nashville on RCA in 1962. It has one “rock” side, and one “ballad” side. Produced by Chet Atkins and Dick Pierce.
The Vivacious One
Recorded in 1962 on RCA, the album compiles the best of Ann-Margret’s two early albums. Produced by Dick Pierce, arranged and conducted by Bob Florence and H.B. Barnum.
3 Great Girls
A compilation on RCA recorded in 1962. Ann-Margret, Kitty Kallen and Della Reeves do four songs each.
Bachelor’s Paradise
Recorded on RCA in 1963. Orchestra conducted by Hank Levine, produced by Steve Shoals.
Beauty And The Beard
Recorded in 1964 on RCA. Ann-Margret teams up with New Orleans trumpeter Al Hirt. Orchestra arranged and conducted by Marty Paich, produced by Steve Shoals.
Songs From The Swinger And Other Swingin’ Songs
Recorded on RCA in 1966. Songs from the film “The Swinger”. Arranged and conducted by Marty Paich, produced by Al Schmitt and Neely Plumb.
The Cowboy And The Lady
Country LP from 1969 recorded in Nashville. Produced by Lee Hazlewood.
Hits And Rarities
A great danish compilation album developed in 1990 on Teenager Records.
Hits And Rarities Vol. 2
Danish compilation album developed in 1992 on Teenager Records.
Lovely Ann-Margret – Hits and Rarities
A Belgian compilation CD developed by Marginal Records in 1995.
Let Me Entertain You
A rather mellow American CD compilation from 1996. 21 of Ann-Margret’s early “sexy” hits.
Ann-Margret 1961-1966
A fantastic 5-CD boxed set from German re-issue label Bear Family. This has it all, really. Everything she recorded with RCA including some never before realeased tracks. Also included are some songs from various soundtracks. It comes with a 72 page deluxe 4-colour book the size of an LP. It has full session details and lots of great pictures. A must!
Viva Rock Vegas
As Fred Flintstone might say, “Let’s Rock!” The Flintstones in “Viva Rock Vegas” is an over-the-cop family comedy but its soundtrack is a rock ‘n’ roll archeologist’s Olduvai Gorge. From the blues of B.B. King to the scorching rockabilly of Johnny Burnette & his Rock ‘n’ Roll Trio, from Bill Haley and his Comets and Jimmy Cavello and his House Rockers to long-forgotten honky-tonker Moon Mullican, The Flinstones In Viva Rock Vegas (Hip-O Records) released April 25, 2000, is a rock ‘n’ roll mammoth.
But the Viva Rock Vegas is hardly dinosaur rock. Also featured are ’90 artists such as rockin’ eccentric Rev. Horton Heat, country rocker Robbie Fulks and blues belter Susan Tedeschi. Add ’80’s roots rockers Nick Lowe and Donnie Iris and Viva Rock Vegaa qualifies as a lesson in musical geology.
Also included are selections performed by score composer David Newman (1998 Academy Award nominee for Anastasia) and one of the film’s stars, Alan Cumming (Tony Award winner for Cabaret).
Yet, the highlight may be Ann-Margret’s “Viva Las Vegas (Viva Rock Vegas).” Originally sung by Elvis Presley for the 1964 film “Viva Las Vegas,” the song has been reworked for this film for Ann-Margret, the voice and inspiration for the character of Ann-Margrock in the original “Flintstones” animated TV series of the ’60’s. The track also spotlights a special performance by James Burton, Elvis’ greatest guitar player.
ANN MARGRET FILMOGRAPHY
Ann-Margret has dazzled screen and stage audiences as few entertainers in our time. With her film debut in Frank Capra’s final classic, “Pocketful of Miracles,” in 1962, to the soon to be released Oliver Stone directed “On Any Sunday” with Al Pacino, Ann-Margret’s film career has spanned four decades. Displaying a versatility that few actresses can match has earned her love and admiration, not just for her beauty and her legend, but for herself. Come behind the scenes for glimpses into over 50 films, including “Viva Las Vegas” with Elvis Presley, her Academy Award Nominated roles in “Tommy” and “Carnal Knowledge,” and many memorable moments.
“10th Kingdom, The” (2000) (mini) TV Series …. Queen          Cinderella
“Perfect Murder, Perfect Town” (2000) (mini) TV Series          Patsy’s Mother
10th Kingdom: The Making of an Epic, The (2000)Â Â Â Â Â Â Â Â Â Cinderella
Last Producer, The (2000) Not Released Yet
Any Given Sunday (1999) …. Margaret Pagniacci
Happy Face Murders (1999) (TV) …. Lorraine
Limey, The (1999) (uncredited) (scenes deleted)
Life of the Party: The Pamela Harriman Story (1998) (TV) …. Pamela Harriman … aka Life of the Party: Pamela Harriman (1998) (TV)
“Four Corners” (1998/I) TV Series …. Amanda Wyatt
Blue Rodeo (1996) (TV) …. Maggie Yearwood
Seduced by Madness (1996) (TV) …. Diane Borchardt
… aka Seduced by Madness: The Diane Borchardt Story (1996) (TV)
Grumpier Old Men (1995) …. Ariel Gustafson
… aka Grumpy Old Men 2 (1995)
Following Her Heart (1994) (TV) …. Lena
“Scarlett” (1994) (mini) TV Series …. Belle Watling
Nobody’s Children (1994) (TV) …. Carol Stevens
“Queen” (1993) (mini) TV Series …. Sally Jackson
… aka “Alex Haley’s Queen” (1993) (mini)
Mount Vernon, WA – Our own (dare we admit it?) Roger Ragusa has made good on his promise and strolled the length of Downtown Mount Vernon in his costume to generate donations for the Theater Arts Guild. He was a good sport about it and did not try to weasel out of it in anyway. By doing so he has earned $500 for the TAG general fund.
Roger Ragusa – Modern day superhero and defender of good citizens against evil. Do not let outward appearances fool you. Mr. Ragusa is rumored to be a highly trained Navy Seal and international martial arts expert. Here we see him undercover on a secret mission. He blends in with his surroundings so as to not give away his identity.
Can you spot him in this photograph? Look carefully. I’ll give you a hint – he might be between the trees.
This is not just a picture of a street corner. Roger is also camouflaged in this picture. Hint – Look between the cars. If you don’t see him at first, try blurring your eyes a bit and look deep into the picture.
Two women walking a dog on a rainy day. Or is it? Yes folks, Roger is also in this picture. This time I give you no hints, you are on your own.
During our walk a local shop owner says hello. Or is it? Yes, tricked you again. That’s no shop owner, that’s Roger Ragusa. The “invisible man” and “man of a thousand faces”.
Another street shot. Roger might be in this photo and he might not be. I’ll let you decide…
Last stop at the Lincoln Theater with a lady working at the ticket booth – HEY WAIT! That’s no ticket lady, that’s Roger again? How does he do it? We do not know…
Lynden, WA 2007 – Lynden Performing Arts Guild will be performing Disney’s High School Musical November 14, 15, 16, 17, 23, 24, 29, 30 & December 6, 7, 8, at 7:30pm – November 24, 25 & December 1, 2, 8 at 2pm at the Claire vg Thomas Theatre – 655 Front St. #13, Lynden Washington 98264
Within the Dutch Village Mall.
Bat Boy the Musical runs Oct 3 thru Nov 10 at http://www.artswest.org in Seattle, WA. Music & lyrics by Laurence O’Keefe, Book by Keythe Farley and Brian Flemming. Directed by Christopher Zinovitch.
Bat Boy was originally an actual cover story article in the Weekly World News on June 23, 1992. Read about the Bat Boy origins on Wikipedia. Excerpt:
Bat Boy debuted as a cover story on June 23, 1992.[1] The original front-page photo of Bat Boy, showing a creature with a grotesque screaming face, was the second-best selling issue in the tabloid’s history, and he has since evolved into a pop-culture icon. The story of Bat Boy was turned into a retardedoff-Broadway musical, Bat Boy: The Musical.
Bat Boy: The Musical is an Off-Broadway musical based on Bat Boy, a character whose antics regularly appear in the Weekly World News tabloid. The story about a half-boy, half-bat found living in a cave inspired bookwriters Keythe Farley and Brian Flemming to write a stage adaptation. They were joined by American composer/lyricist Laurence O’Keefe (no relation to the English bassist Laurence O’Keefe) and their first production premiered on Halloween, 1997.
A great production of Bat Boy the Musical by Arts West in Seattle, WA. I liked their production so much I went and saw it twice. (GO SEE IT!). Arts West is smaller house under a couple hundred seats. The sound system is dialed in well – it’s easy to hear everything going on and the full chorus numbers are loud and in your face but not abrasive. When the full chorus sang it was awesome to hear the full harmony stacks clear and punchy. Major kudos to the audio techs at Arts West.
I seem to be having a “bat year”. Earlier this year I did foley and soundtracks for Bram Stoker’s Dracula (my Dracula Overture has been making it’s rounds on the net) and I’m currently working on Rocky Horror Show. To one of the Bat Boy shows I brought along Frank N Furter from the Rocky Horror Show (Frank ‘N Furter is kind of a vampire in drag). Bat Boy was new to me, I hadn’t heard about it until a friend dragged me out to it. The musical is tacky, campy, gory, sometimes almost offensive and SO VERY FUNNY! There are moments of brief pathos, but quickly broken with slapstick comedy and social commentary. It is true entertainment.
Troy Wageman was mesmerizing as Bat Boy. I just can’t imagine what he goes through each show. There are entire scenes where he has to hang in a cage by his toes – and throughout the musical he retains his bat postures with curled fingers and toes. Towards the end of the show the Bat Boy vocal part is full of full throttle high notes. And Troy pulled it off 100% through to the end of the show. I worked with Troy in “Brigadoon” when he played the romantic lead. It was fun to watch him in a show where he wasn’t restrained and could really let loose the various nuances of his personality. Troy, you are my new hero. You are definately nudging yourself towards a lead with a major company, can’t wait to hear about it when it happens. Not IF, but when…
Nick DeSantis as Dr. Parker created a three dimensional character that we loved to hate. His comedic second-takes and sometimes vaudeville sinister movements had impeccable timing. Especially at a smaller theater like Arts West in Seattle, he made a strong connection with the audience that we were all “in on it” with him. Of all the actors in this presentation, Nick’s seemed the most like he jumped right out of a quality comic book and right onto the stage. And I mean that in all the best of ways.
Tim Glynn (Ned, Pan) didn’t have as many moments to shine as I would have liked. Just because I’m also a fan of his. He does get a great spotlight on Pan’s solo and carried it off with classic bravado. And yes, we all got a kick out of his protruding Pan costume which paraded proudly. I also worked with Tim in Brigadoon – he has a wide range of vocal chops from light operatic lyric tenor to full bodied baritone. He’s also a career to track closely.
Jimmy Scheider (Rick, Lorraine) actually stole scenes just getting into position for new scenes with lights out! He played Lorraine in drag and would get laughs just sauntering sexily into stage position. His fawning over the sheriff and overt delivery of Southern Belle charm made his character a hit. When he changed to the character of Rich, you wouldn’t even know it was the same person. (Rick is a “guys guy” complete with mullet and white boy raps). Great acting chops.
If you like musical theater but are bored with the same old dusty musicals being performed, then check out Bat Boy – I would be very surprised if it wasn’t one of your new favorites.
ARTS WEST BAT BOY CAST AND CREW
Bat Boy – Troy Wageman
Meredith – Heather Hawkins
Dr. Parker – Nick DeSantis
Shelly Parker – Krystle Armstrong
Ron, Maggie – Trish LaGrua
Sheriff – Sulo Turner
Ruthie, Bud – Arielle Grieco
Mrs. Taylor, Rev. Hightower, Roy – Evan Woltz
Pan, Ned – Tim Glynn
Daisy, Institute Man, Doctor – Greta Bloor
Rick, Lorraine – Jimmy Scheider
The Artistic Team
Director – Christopher Zinovitch
Musical Director – R. J. Tancioco
Choreographer – Kristen Culp
Stage Managers – Liz James and Andrew Chin
Sound Designer – Evan Middlesworth
Lighting Designer – John Small
Set Designer/Technical Director – Will Abrahamse
Costume Designer – Pete Rush
Prop Designer – Karen Engelbrecht
Wig Designer – Cindy Bradder
BAT BOY CAST BIOs
Krystle Armstrong
Shelly Parker
Krystle is in kibble heaven to be making her Artswest debut! She is the loving partner to a Great Dane named Monty, who works as an Elvis impersonator. Due to the fact that the state will not let her marry her canine lover, she is working to earn money to elope to Timbuktu. She has worked at many places, including The 5th Avenue Theatre, Village Theatre, CDA Summer Theatre and Showtunes!. Favorite roles include Millie in Thoroughly Modern Millie, Angie in …In New Jersey, and Woman #2 in Putting it Together. Enjoy the show!
Greta Bloor
Daisy, Institute Man, Doctor
Greta comes from the land of neuro geeks where she has been known to perform experiments on the central nervous systems of barnyard animals. When not studying the flow of cerebral spinal fluid through the brain of a cow, she exercises her synaptic strength on the stages of Seattle. Some credits include Baby, Barefoot in the Park, and Voices of Christmas at ArtsWest, as well as Robin Hood and Hello, Dolly at Village Theatre and Three Sisters at Intiman. As always, she would like to thank the number one donor to the barnyard animal research fund, Andy.
Nick DeSantis
Dr. Parker
Born in the back of a AMC Gremlin while touring with “Pustulent Ted’s Family Freakshow,” Nick was originally part of a set of conjoined quadruplets connected at the armpits. After a grueling 27 hour surgery, his siblings went on to great success in the Armenian sitcom “That’s MY Kugel!”. Nick came to ArtsWest where he was raised by a pack of wild gerbils. He has been on the AW boards in La Bete, How I Got That Story and tick, tick…BOOM for which he won a Seattle Times Footlight Award. Look for him this spring in his first one man(?) show….I Am My Own Wife here on the ArtsWest Stage. He is still greatly comforted by the scent of cedar shavings.
Timothy Glynn
Pan, Ned
Timothy has spent the last thirteen years searching for his soul, which he lost to the Demon Lord Mephisto in a botched deal for a magical pink tutu. When not skirting lakes of brimstone and hellfire, he raises five legged elephants in his Soho loft in Budapest. His prize elephant, Mary Lou La’Bruer, just took home first place in the 1st Annual Universal Mud Bubble Competition. The medal hangs on the dining room wall with mixed emotions after the other competitor, sour from defeat, became bulimic and was committed to rehab where she rooms with Paris Hilton and her mutant dog. Visiting hours are 9-12 am W-F. Timothy recently traveled to Brigadoon with Lyric Light Opera, where he disguised himself as a pixyish man named Charlie. He will next take Lacey, his magical tutu, to Whidbey Island in March for a solo show titled, Broadway Anthems. A few of his favorite things include: belting, calla lilies, and Mama’s Famous Fungus and Rye Stew. He appreciates your making him feel welcome at ArtsWest, and invites you to sit back – he spits!
Arielle Grieco
Ruthi, Bud
When not spelunking in the Jeita Grotto of Beirut, Arielle has committed her exceedingly lengthy adult life to not only re-curing polio, but starring in such roles as Sergeant Andrew Carter on the hit 1960s sitcom Hogan’s Heroes and some jerk in Hair. Arielle looks forward to both appearing in this production and learning to read. She would like to thank her parents, the milkman, Jeeves, this delicious ham sandwich, a pocketful of wishes, Jeremy for writing this, the Almighty Zeus and is survived by her brother, Adrienne, and her dog, Peaches-N-Cream.
Heather Hawkins
Meredith
Heather’s back in style after a “retreat” following her hairpulling, name-calling, bitch-slapping night on the town with Lindsay, Paris and Nicole. “So not worth the trouble” says our girl about the infamous fight over the last dregs of a down market vodka and leftover swag from the Daytime Emmys. “I already have the iPhone and you know, those girls are yesterday’s news.” In between throw-downs with her frenemies, Heather spends time helping local paparazzi, appearing in ArtsWest’s productions – Mrs. Johnstone in Blood Brothers, Mary in On The Verge and Alexa Vere de Vere in As Bees in Honey Drown, for which she received a 2006 Seattle Times Footlight Award. She supports the arts, appearing as Helena in A Midsummer Night’s Dream, Portia in Julius Caesar, and Mistress Ford in The Merry Wives of Windsor for Wooden O, Emma in Betrayal and Hermione in The Winter’s Tale for Seattle Public Theater and Titania in A Midsummer Night’s Dream for Seattle Shakespeare Company, as well as paid appearances at Village Theater, ACT, Empty Space, Mirror Stage, Theater Schmeater, Exchange Theatre, Kenyon Hall, and 14/48. Look for her next in The Sweetest Swing in Baseball at ArtsWest and Seattle Public Theater. Her favorite unpaid role is Mom and Wife in The Life and Times of Duncan, Tessa, and Jay Weinland.
Trish LaGrua
Ron, Maggie
After surviving bureaucratic prison for ten years, Trish and her partner spawned two perfect children who are currently on display at the Washington School of Genetics. She is crossing her fingers that this, her sixth attempt to sneak on stage at ArtsWest will be successful. Previous attempts include Blood Brothers, Lend Me a Tenor, Honk, Voices of Christmas and Romance/Romance. You may recognize Trish from her years as the stunt double for Daisy Duke in the Dukes of Hazzard television series. She has recurring nightmares of hot pants and high heels.
Jimmy Scheider
Rick, Lorraine
Jimmy is pleased to be making his debut at ArtsWest. Though artificially inseminated in an earth woman, Jimmy originally hails from the planet Zarthax, in the Lilat system.
Since reaching maturity he has been successfully implanting earth woman with hybrid alien larvae, but musical theater has always been his passion. Recent sightings include Waxworks (Schutzman) with the Aspen Opera Theatre Company, Hello Dolly! and The Who’s Tommy with Village Theatre. He would like to thank his host family and friends for their unsuspecting support of his efforts to remain hidden living among your kind until the day of glory arrives!
Sulo Turner
Sheriff
Sulo Turner began his illustrious acting career at 3 years of age, originating the role of the imaginary son in Who’s Afraid of Virginia Woolf? After earning his masters degree in theater magic at Hope Falls Junior College, he delighted coal miners throughout the US in a successful tour of Anthracite! The Musical. His passion for stretch denim led to a tragic sewing accident in 1977, requiring a 7-year recovery, during which he penned the self-help classic, Finding The ‘I’ In You. More recently, Sulo has graced the ArtsWest stage with unforgettable performances in Blood Brothers and Voices of Christmas.
Troy Wageman
Bat Boy
Troy L. Wageman is the last surviving member of the Order of Aoide, an ancient brotherhood sworn to protect The Lost Chord by ensuring it remains forever lost. His mysterious duties often require him to insinuate himself into the casts of local musicals such as West Side Story and Pippin at 5th Avenue Theatre, Brigadoon at Lyric Light Opera, and Evita at Village Theatre. In the absence of other acolytes, he must also occasionally patrol regional productions as he did in Footloose, Jekyll and Hyde, and Disney’s Beauty and the Beast. Brother Troy and his Sacred Pitch Pipe of Discord will next keep watch at 5th Avenue’s Cabaret.
Evan Woltz
Mrs. Taylor, Rev. Hightower, Roy
Inside the dusty ruins of a cave believed to be a hideout connected to the ancient Jewish fortress Masada, dried blood was found smeared on what archeologists have found was a rudimentary karaoke microphone discarded amidst piles of religious manuscript and relics, which included a 3000-year-old copy of “Moses Rocks the ’80s!” Collecting the decrepit DNA, American scientists engineered a somewhat human clone inside the depths of an “unrecognized” government laboratory. From an early age, it was clear the Masada Clone Baby was born to entertain, performing solo in complete self-productions of Sweeney Todd, Picasso at the Lapin Agile, and Hamlet, all before the age of seven. On its sixteenth birthday, a kind security guard at the cloning facility granted the Masada Clone Baby its freedom after a particularly lengthy plea in the form of
“Somewhere That’s Green” from Little Shop of Horrors. Now on the lam from The Man, the Clone Baby has renamed himself Evan Woltz (after the kindly security guard), and is happily pursuing a career in theater whilst evading the law on a series of madcap adventures.
Artistic Team BIOs
Andrew Chin
Stage Manger / Sound Operator
STAGE MANAGER ESCAPES FROM TILONUS MENTAL INSTITUTION. Stage Manager Andrew Chin, who had been under the care of Dr. Syrus of the Tilonus IV Mental Institution, has escaped. He is thought to be headed to West Seattle, Earth, possibly to ArtsWest where he has stage managed for the past four years with favorite shows including: tick, tick… BOOM!, As Bees in Honey Drown, and Vilna’s Got a Golem. He may also seek refuge with other area theatre companies he has worked with in the past such as d9 Dance Collective, ReAct, and SIS Productions. If seen, please call authorities. Do not attempt to make contact as he has been known to exhibit random, erratic behavior such as screaming at chickens, pistol whipping unruly actors, and hopping like a bunny.
Kristin Culp
Choreographer
Some say Kristin is from outer space, but we know the truth. She is from a place more bizarre than our minds can comprehend, New Jersey. There she worked for Vampires at a theater called Surflight where she choreographed many a show. The presence of Vampires eventually took its toll and forced her to flee to Seattle. Here she continues to teach children and adults the way of the dance. Favorite choreography credits: Children of Eden (Village Theatre’s KIDSTAGE), The Secret Garden, Annie, Joseph…Dreamcoat, The Pajama Game (Surflight Theatre). Thanks to Christopher, R.J., Jessica Skerrit, and so much love and thanks to Jason.
Liz James
Stage Manager
Liz was born in the outskirts of an Eastern Washington farming town and left to be raised by wolves until she was eight, when a traveling theater troupe, The Commedians, found her and took her with them. It was then found that she had a taste for the blood of actors and children. When she came to ArtsWest it was learned that she couldn�t get past that thirst for actor’s blood and she was locked away in the booth for productions such as Voices of Christmas 2006 and Pinocchio.
Will Abrahamse
Set Designer,Technical Director
According to recently declassified government documents, ArtsWest Technical Director Will Abrahamse is, in fact, a member of a subterranean mole-people. Captured in the wasteland of Eastern Washington while emerging from under a 37-ton boulder, he was mercilessly examined in the top-secret laboratories of Area 51. However, he was soon released into the Seattle area under the close scrutiny of government agents. He now spends his days toiling in a darkened theater, free from the dangers of natural sunlight, desperate to recreate the comforts of his lost world.
John Small
Lighting Designer
Kept locked away in a notoriously haunted Chinese theater on 5th Avenue in downtown Seattle for almost five years, his skin grew pale and translucent, even through warm summer months, fed a strict diet of mainstream musical theater, almost devoid of meaningful nourishment, his starving soul craved something bloody and shocking. Then a miracle! His captors left the stage door open. He escaped, cackling, into the blinding sunlight to rove free among the people who cringed at his pale form and huge eyeballs. When asked, all he could say was “Five years, Thirty two musicals, forced…. to…. watch…. every…. single…. performance. Spot 1 Go, Spot 1 Out, Spot 1 Go, Spot 1 Out. Out Out Damned Spot!” They called him Sparky, They called him Stage Electrician. They called him House Staff. He forgot the taste of meals cooked at home, and the sound of sleeping in without an alarm, the company of normal (non-theater) people. He forgot his name. Some lingering homing instinct. The faint echo of family. He cowered in a dumpster behind ArtsWest, living on coffee grounds, until Chris Zinovitch found him there, lured him into the theater with a script for Bat Boy, and began his miraculous rehabilitation to Better Theater and the rediscovery of his name and title, John Small, Lighting Designer. He’s learned to wear shirts without holes in them, he’s learned to read whole scripts, he’s learned the joy of having a Life again.
Pete Rush
Costume Designer
Pete Rush is a fashion reject exiled to Seattle from the east coast. After being thrown out of the circus for extremely bad taste (he designed costumes that offended the patrons), he thought it best to head to the relative anonimity of the west. In Seattle, his designs for Travesties at Seattle Public Theater were indeed just that, his Crime and Punishment clothes at CHAC made the audience groan with oppressive displeasure, and Book-It Repertory’s House of the Spirits was simply nightmarish. Mr. Rush lately can be found haunting the depths of ArtsWest, where he sweet talked his way into several productions this season, including The Retreat From Moscow and I Am My Own Wife. In his spare time, the designer also makes art out of trash, sells his soul to anyone who will pay him, and runs a small home for wayward hustlers out of his apartment.
Evan Middlesworth
Sound Designer
Roaming through the hills of the sagebrush-shadowed darkland, a young boy and his ukelele saw an oasis of hope on the horizon. In need of food, shelter and SPF 45 sun block, the young soul limped his way to what was most certainly a figment of his mutated imagination. One step after the other, he didn’s stop for 13 days and on his last day he fell. When he awoke he found himself involved with a gangly bunch of hippies in a production of Hair at ArtsWest. No one asked his name and no one cared. His quest had now become complete and the mission made simple….”make it sound good” a voice said in the dark. Young Evan could only nod and smile for he could not hear a word the shapeless figure said from the levitated sound reinforced chamber of beyond. From the days of wandering the desert, helpless, alone and confused, he now is in the world of the theater….which is just about the same…but the cast, crew and production team at ArtsWest have taken this burnt soul and trusted him enough to become one of their own, enjoy!
R.J. Tancioco
Musical Director/Piano/Conductor
Last seen here in a jolly red suit singing the joys of Christmas and bearing tidings of great comfort and joy, R.J. has now hung up his leather boots and oversized pants to venture into the world behind the piano. He has been sighted (in dark rooms with hundereds of people who paid exorbitant amounts of money to watch people sing and dance on stage) in such places as the 5th Avenue Theatre, Village Theatre, San Jose Rep, Broadway Rose, New York Public Theatre, to name a few. He is known to create magic spells with the wisk of his baton to such favorite chants such as Evita, Dreamgirls, Hair, The Last Five Years, Children of Eden, and Joseph…Dreamcoat. Also known to travel at the speed of 100 miles per minute, R.J. slows down by enjoying the 88-key monster and teaching children, young adults, and professionals to master their primitive cry. Soon, he believes he can fly.
Karen Engelbrecht
Prop Designer
Orphaned in a vicious drop-bear attack, Karen wandered aimlessly for months through the Australian outback, her only contact with humanity being a bootleg cassette of West Side Story. When she was finally found by Jackaroos, the only intelligible words she could form were “I like to be in America,” resulting in them shipping her off on a fishing boat bound for Ballard. Weeks of tying knots and untangling nets instilled in her the manual dexterity so prized by props masters the world over, while her love of show tunes and natural ability with sheep made her a perfect fit for the theater.
Cindy Bradder
Wig Designer
Growing up on a potato farm in small town Idaho, Cindy’s life was quite normal. In her formative years she excelled as a peel inspector at the local potato processing facility. It was there that she saw the image of Holly Hunter in a Yukon Gold and her life was forever changed. Just days after Cindy’s discovery she was abducted in the night by aliens desperate for her tuber inspection skills to help develop their new line of spud powered saucers. She is happy to speak at length about the experience but seems to go into some sort of trance at the mention of anal probes.
Christopher Zinovitch
Director
Christopher Zinovitch (Director) is better known to many children as The Man With Eyes In the Back of His Head. This is actually a myth, based on his knowledge of everything his students are getting up to at all times. His mystical omnipotence is assisted by the ability, inherited from his birth mother, a Ferruginous Pygmy-Owl, to turn his head 270 degrees. This power, reinforced by his network of spies, comes in handy when working with children on such productions as School House Rock Live, Hair and A Chorus Line. When not shepherding the Divas of Tomorrow, Christopher donates his time to the emotionally needy, constantly stoking egos while proving that Blood Brothers are just as much in danger as Bees in Honey.
BAT BOY THE MUSICAL – SYNOPSIS
Act I
Three teenagers — Ron, Rick and Ruthie Taylor — are spelunking in a cave near Hope Falls West Virginia. They notice a strange, humanoid creature in the cave with them, and identify him as the legendary feral “Bat Boy”. Bat Boy bites Ruthie’s neck, and Rick and Ron leap on him and knock him unconscious. The company then assembles onstage as a sort of Greek Chorus and begin to tell the legend of Bat Boy, instructing the audience to watch and learn from his struggle (“Hold Me, Bat Boy”).
Ruthie is taken to the hospital and Rick and Ron hand the Bat Boy over to the local lawman, Sheriff Reynolds, who decides to take him across town to the house of town veterinarian Doctor Parker. At the home of Doctor Parker, the doctor’s wife Meredith and daughter Shelley are cleaning and discussing boys; Rick Taylor is Shelley’s boyfriend. Sheriff Reynolds arrives with the Bat Boy. He asks Meredith to take in the creature until Dr. Parker returns home. Meredith agrees to keep Bat Boy in one of Dr. Parker’s spare cages, and the Sheriff thanks them for their “Christian Charity” and leaves.
Later in the evening a thunderstorm is brewing. Bat Boy is now inside a large cage in the Parkers’ living room. He is terrified and hungry, yet refuses everything Meredith makes for him. Shelley, annoyed by his shrieking, calls him an “Ugly Boy”. Meredith christens him Edgar. Rick Taylor arrives to see his Shelley. Rick flips out when he sees Edgar is still alive, but taunts him and tries to ignore him instead of doing anything. He and Shelley start making out, and Edgar starts imitating the noises they’re making. Rick gets pissed off, takes out a knife, and threatens to kill him (“Watcha Wanna Do?”). Meredith interrupts and throws him out of the house.
The storm hits and the power fails; Meredith sends Shelley to bed. Now alone with Edgar, Meredith sings softly to him, telling him that she hopes her house can be “A Home for You”. He responds to her, but spits out a stew she tries to give him.
In the Hope Falls Slaughterhouse, the Mayor Maggie has called a special meeting of the Town Council. She announces that the Reverend Billy Hightower will be bringing his Tent Revival Meeting and Barbecue to Hope Falls in the spring. Secondly, Mayor Maggie asks for an explanation from the ranchers for the lack of meat in the slaughterhouse. The ranchers admit their cows are too malnourished to be slaughtered, and several have died for no clear reason. The ranchers and townsfolk argue with each other and express their fears that “Another Dead Cow” may destroy the town. It is suggested that the cows may be dying because of the Bat Boy. They agree that Doctor Parker should kill it.
Back at the Parker house, Doctor Parker returns from hunting, carrying some dead geese slung over his shoulder. He has been drinking. Parker sees Edgar in the cage and is horrified. He analyzes Edgar and is about to give him a lethal injection when Meredith interrupts. She begs him not to kill Edgar, and says she will sleep with him if he saves the bat child from starvation. Doctor Parker asks that it be tonight, and she is reluctant. He sings “Dance With Me, Darling” about their happier times together. Meredith agrees, and after she leaves Doctor Parker slices open the neck of one of the geese and feeds Bat Boy the blood. A ghostly chorus of Voices in His Head appear onstage and sing with him.
At the local hospital, a doctor assures Mrs. Taylor that the delirious and terrified Ruthie will be okay. Ruthie’s mother and brothers try to reassure her (“Mrs. Taylor’s Lullaby”), promising her that if the Sheriff wants to stay in office he will kill the Bat Boy.
The next day at the Parker house, Meredith tries to teach Edgar how to behave like a human being. Over the course of several weeks, we see Edgar evolve from a gibbering, crouching creature to a confident, eloquent man-about-town with a high school equivalency diploma. Whenever Edgar’s progress stalls, Doctor Parker secretly feeds him blood (“Show You a Thing or Two”).
Mayor Maggie calls another special meeting of the Town Council, to discuss the upcoming revival meeting. The Sheriff, urged on by the townsfolk, tells Parker that Edgar cannot attend. Doctor Parker tries to convince the townsfolk that Edgar is not a danger, but they threaten to kill the Bat Boy if he is not taken away. Doctor Parker gives them his word of honor that Edgar will not come. (“Christian Charity (Reprise)”).
At the Parker house, Shelley is teaching Edgar to dance while Doctor Parker convinces Meredith that the pact he made is for the best. As they have tea, Edgar mentions he’s heard about the upcoming Revival and asks to attend. Doctor Parker tries to persuade him to go camping with the family instead. Edgar argues that he wants to see the world and join society, and that he doesn’t want to harm people he only wants to learn from them (“A Home for You (Reprise)”). Parker and Meredith are firm. Edgar argues that attending the Revival is crucial to his own development and happiness, because he is probably human – a realization he made recently when he noticed he has a navel (after watching a medical program TV). Parker is unmoved, but Meredith changes her mind and says she will take Edgar to the revival. In anger, Doctor Parker grabs Meredith’s arm and Edgar instinctively attacks him. Meredith stops him, then comforts Edgar – instead of Parker. Parker realizes Bat Boy has taken over his spot in Meredith’s heart (“Parker’s Epiphany”). Parker’s mind snaps, but he smiles and agrees to let Edgar attend the revival. Meredith leaves Doctor Parker alone with Edgar. Edgar is hungry, but hates himself for his bloodthirst. He says he thinks he can change, but Parker, in a cruel taunt, pulls a live rabbit out of his doctor’s bag and places it in front of Edgar, telling him to resist it. Doctor Parker argues with the Voices in His Head and devises a plan to destroy Edgar and win Meredith back. All the other residents of Hope Falls, including Meredith, Shelley, Maggie and the ranchers, sing of their plans for the revival the next day. Edgar sings a prayer to God, asking Him to remove his bloody nature. Bat Boy masters his hunger and hugs the rabbit, but Doctor Parker takes it from him and kills it. Edgar, horrified but unable to control his hunger, picks up the rabbit and begins to drink its blood. Doctor Parker comes to Ruthie Taylor’s hospital room and administers a lethal injection. She convulses and dies. (“Comfort and Joy”)
Act II
At the Revival Meeting, Reverend Billy Hightower works hard to raise the spirits of the townspeople (“A Joyful Noise”). He offers faith healing and asks for a volunteer with sins on his soul. Meredith, Shelley and Edgar arrive, and Edgar asks for healing, but it is unsuccessful. Edgar asks the townspeople to “Let Me Walk Among You,” promising he can be a civilized member of the community. They change their minds and embrace him (“A Joyful Noise (Reprise)”). Doctor Parker arrives and claims Ruthie Taylor has died in the night from a bizarre infection caused by Edgar’s bite, adding that he has called the Institute in Wheeling and they are on their way to remove him. All are horrified at the news as the town (and Edgar) believes the lie. Rick Taylor runs in with his brother and mother and aims a gun at Edgar (“Whatcha Wanna Do (Reprise)”), but Shelley steps in front of the gun. Rick shoves her aside violently and Edgar attacks Rick, biting his neck. Edgar runs away. Doctor Parker pretends to administer an antidote to Rick but instead gives him a lethal injection. Rick convulses and dies. The townspeople search the forest for the Edgar (“Stop the Bat Boy!”).
Meredith and Shelley also hunt for Edgar in the woods, resolving once they have found him they will leave town, change their names, and live far away from anyone – including Doctor Parker (“Three Bedroom House”). Shelley tells Meredith she is in love with Edgar. Meredith is horrified, and Shelley runs away deeper into the woods. She finds Edgar, and they comfort each other, then realize they’re in love. The Greek God of nature, Pan, a satyr, arrives to preside over a sort of union between Edgar and Shelley (“Children, Children”), accompanied by a chorus of animals of all shapes, sizes and species. The celebration culminates in a huge interspecies orgy.
Meanwhile, Ron Taylor is hunting for Edgar. He heads for the slaughterhouse, concluding the Bat Boy would most likely satisfy his blood-lust there. Ron makes a terrible racket while looking for him. Townsperson Daisy hears the noise and tells the Sheriff that she may have the Bat Boy cornered in the slaughterhouse. Mrs. Taylor overhears this comment and tries to kill Bat Boy by setting fire to the building with the torch. The slaughterhouse burns and the townsfolk arrive to watch the blaze. Ron is killed in the fire. The townsfolk by now are turning into an irrational mob. Doctor Parker riles them further by telling them the Bat Boy is on a rampage (“More Blood”). The mob follows the doctor as he leads the hunt (“Kill the Bat Boy!”).
In the clearing in the woods, Shelley and Edgar are curled together. Edgar realizes he is hungry and tries to leave protect Shelley, but she reveals she knows he eats blood. She offers her arm to Edgar to drink from and he reluctantly agrees (“Inside Your Heart”). Just as Edgar is about to bite her, Meredith finds the pair and stops them by revealing that she is Edgar’s mother. Overcome with grief and shame, Edgar runs off.
The townspeople still demand revenge. They blame Edgar for the cow plague, but Meredith tells them that the cows are dying because they’ve been raising them on a mountain. She tries to comfort Edgar, but he has already decided he wants to die (“Finale: I Imagine You’re Upset”). The Sherriff tells Edgar not to throw his life away, but Edgar doesn’t listen. He asks Doctor Parker to kill him, but Parker cannot, so Edgar reveals that he slept with Shelley and that she offered him her blood. Doctor Parker is about to kill him when Meredith stops him. Parker apologizes for what he’s done, Meredith forgives him and asks him if they can start over. But Parker, unable to forgive himself, asks Edgar if he’s hungry and lifts his knife and slits his own throat open. Edgar, unable to resist the blood, leaps upon Parker and drinks from his neck. Doctor Parker stabs Edgar in the back, and as he raises his knife to stab again, Meredith runs forward and tries to pull Edgar off, and she too is stabbed in the back. The three fall to the ground, dying. Edgar declares that he is an animal and dies in Shelley’s lap. (“Finale: I Am Not a Boy”). As the townsfolk stand stunned, the Institute Man arrives, but too late. He asks what happened, and Shelley stands up and tells the story of the Bat Boy (“Hold Me, Bat Boy (Reprise)”). The cast, living and dead, turn and address the audience, delivering the final messages of the show. Bat Boy rises up and the show ends as the company tells the audience “don’t deny your beast inside.”
Cirque Du Soleil uses it’s leverage in China to create acceptable working conditions in surrounding areas. The full article from Canada.com can be read at:
“It’s important to promote our values and to make sure that the people we work with respect them,” said Gaetan Morency, vice-president of Public and Social Affairs at the Cirque.
He acknowledged that the Cirque — arguably one of Canada’s most recognized global brands — has a lot of leverage since countries are lining up to convince the circus to come to their towns.
