LSD. Peyote. PCP - I’ve never tried any of them. And since attending Bat Boy: The Musical daringly staged by Foppish Dandies and Co. at 40th Street Stage, I will never have the need to. Formerly, I was under the impression that witnessing a group of West Virginia townspeople chanting, “Stop the Bat Boy,” was the result of habitual acid-dropping.  Now I know it can be real - and fun for most of the family.

“Bat Boy” rings a bell, but you can’t quite put a finger on why or how. While standing in line at your favorite convenience store, did you ever look down at the Maxim Magazines and tabloids?  If so, you may have noticed headlines or photos of a young man called “Bat Boy” in a popular newspaper (if you want to call it that). This is the musical version of the creature’s tumultuous life, with story and book by Keythe Farley and Bryan Flemming, music and lyrics handled by Lawrence O’Keefe.  I never imagined this story would be told on stage (much less as a musical).

Eileen P. Quintin (Bat Boy) led the way with a monumental performance possessing phenomenal intensity and devotion to the role. She is the wild animal in a cage early on and a sensitive, articulate “person” later. Quintin delivers one of the best performances in recent memory - despite playing against gender and sans stellar singing voice. I cannot compliment her enough, and look forward to seeing her work again.

Palpable mental illness radiates from the performers (in a good way). Think, “Redneck Spacemen on Drugs.” Lighting Designer William McGhee expertly creates the mood visually (he impresses onstage as well).  Your local cannabis enthusiast with all the black lights in the neighborhood cannot equal McGhee’s acutely surreal illumination. Scenic Designer Frankie Little-Hardin serves the play well despite the challenge of operating in a relatively cramped space. The multi-colored, illuminated cross is noteworthy.

Costume Designer Debi McGill shows uncanny creativity. McGill went above and beyond simply making the actors “handsomely dressed” and giving them a pretty accessory or two. The power of her work is most evident with the assorted animal characters. On a heart-warming note, Debi McGill’s daughter Haylie figures prominently onstage. Ain’t community/semi-pro theatre grand?

Jillian Sweetland (Meredith Parker) and DeEtta Jennings (Mayor Maggie, The Frog) possess fine, professional caliber voices. Vocal skills in the cast range from excellent (those two), to essentially the outhouse. Generally, the voices are not strong. Besides Sweetland and Jennings, there are only two or three other singers of quality in the production.  Some sounded hoarse the night I was in attendance. But even if those ailing throats were in top form, I speculate the result would still have been sub-par. Musical theatre and singing enthusiasts will find this disgusting (aficionados be warned).  However, this lack is more than compensated for by the actors’ energy, choreographer Amy Stockunas’ imagination, and director Philip Odango’s crazy world. Odango shows signs of a definite and distinct artistic vision. I look forward to seeing more Odango-directed productions (his sister Josephine is in the cast - proving my “Ain’t it grand…” theory). 

Kent Collins (Dr. Thomas Parker, Bumblebee) shines as an alcoholic veterinarian, and packs a nice sting as Bumblebee. As does William McGhee in his multiple roles - his rap song “Watcha Wanna Do” (as Rick) with Haylie McGill (Shelley Parker) is one of the highlights of the evening. Haylie McGill, a Granby freshman, shows promise as her voice matures to the demands of the musical stage. Jennings is a fine woman of power as the Mayor and appropriately amphibian-like as her animal.  Sweetland deftly portrays the loving woman that we all need in a time of despair. Kirsten Martin (Mrs. Pucchi Taylor) smoothly exemplifies the type of coarse New Jersey woman I was told to avoid at all costs. I have to a certain degree.

Those are among the performances that cancel out much of the sailor-in-the-shower singing. And I feel compelled to mention Bat Boy herself once more - Quintin.

Production Coach and Property/Special FX Mistress Nancy Dickerson is worthy of praise.

Dickerson makes it necessary for audience members sitting in the front rows to wear rain ponchos.

To sum it up, Bat Boy is camp and cult. Even the most “serious” and “tragic” moments have an outlandish and farcical slant. The production is filled with ruckus energy, a very acceptable interpretation. The script will never cease to surprise. If you want Grandma’s version of The Sound of Music or Carousel and expect to behold a choir of angels take the stage, stay home. For a night of theatre you will never forget see Bat Boy: The Musical. It will continue until December 8 at the 40^thStreet Stage. For reservations, call 423-4084.

Foppish Dandies and Co. should be applauded not only for bringing cutting-edge theatre to Hampton Roads, but for doing it well - and making our heads spin. Be on the look out for Evil Dead: The Musical, coming soon.