Review: AMERICAN PSYCHO: The Musical at Kokandy Productions

Kokandy Productions’ Chicago premiere of AMERICAN PSYCHO: The Musical is a delectable, campy romp. Producing Artistic Director Derek Van Barham’s production is a mainly bloodless vision for the bloody tale of serial killer finance bro Patrick Bateman — and it’s an approach that works incredibly well for the material. I know that AMERICAN PSYCHO: The Musical was short-lived on Broadway and that that production was a literal bloodbath. The fact that Kokandy’s production substitutes red confetti for stage blood is a microcosm of how well this scrappy interpretation of the musical works: By making the show more camp, less horror story, audiences are then free to indulge in the satire and fun. 

Roberto Aguirre-Sacasa’s book and Duncan Sheik’s score lend themselves well to this extremely campy treatment: The musical’s characters are outsized, often satirical tropes with biting lyrics and a pop-rock score that has some bits of EDM music thrown in (You can hear the SPRING AWAKENING in Sheik’s compositions.) The book and songs largely work well together to tell Patrick Bateman’s story. That said, the inclusion of a few iconic ‘80s hits in a jukebox style is fun, but Aguirre-Sacasa’s book leaves them dangling. Still, those few hiccups don’t detract at all from the musical’s outsized depiction of American greed and serial killings — all with a clear existential slant.

AMERICAN PSYCHO wouldn’t succeed without an equally compelling and dispassionate actor in the role of Patrick Bateman, and Kyle Patrick is superb. Not to mention he has the insanely toned physique needed to portray “hardbody” Patrick, who is obsessed with his own looks. I’ve actually never seen an actor spend so much time on stage either stripping down into his tighty whities or putting back on his suit over that signature look (Rachel Sypniewski’s scrappy costume designs have impeccable suits for the Wall Street men, though I wish the women’s looks were more elegant and put together — even with a modest budget, I think the women’s dresses and wigs could have been tidier.)

As Patrick Bateman, Patrick practically preens across set designer G. “Max” Maxin IV’s runway style-stage;  he wants us to notice him — and that we do. Patrick also maintains the necessary balance between self-absorbed and self-loathing. With every biting, dispassionate line delivery and every lyric expertly sung, Patrick makes clear that Patrick Bateman will always thirst for more. He craves more attention, more money, and more meaning in his empty life. That theme of existentialism is an interesting thread within the satirical AMERICAN PSYCHO, and especially by the musical’s end, Patrick allows us to see just how aimless Patrick Bateman truly is. Patrick is also a phenomenal singer, which is, of course, necessary for a pop rock musical.

Patrick’s in good company with his fellow ensemble members. The harmonies in this cast are impeccable, filling the space beautifully with pristine vocals. Caleigh Pan-Kita is sublime as Patrick’s ditzy, delusional girlfriend Evelyn; Pan-Kita’s decision to make Evelyn a real caricature works incredibly well. It’s evident that Patrick Bateman doesn’t take her seriously, and Pan-Kita leans into that with her interpretation. She’s also a gifted singer, particularly in the duet “If We Get Married,” in which Evelyn fantasizes about how much nicer life would be if Patrick just settled down. Will Lidke has real finance bro energy as Patrick’s close work friend, Tim, and he’s a great singer too. Although the role is overly saccharine on the page, Sonia Goldberg is lovely as Patrick’s secretary Jean.

That said, the musical tries to draw too neat a contrast between the psychopathic Patrick and Jean with her heart of gold, who believes she can also see the good in her boss. While most of the musical numbers are loud, brash, and undeniably satirical, Jean’s duet with Patrick’s mother Mrs. Bateman (Amber Dow) sticks out like a sore thumb. “Nice Thought” could easily be cut from the show; we don’t need a justification of how sweet Patrick might have been as a child and how Wall Street has corrupted him. Instead, it’s better when the musical lets Patrick’s character speak for himself. For a psychopath, he’s surprisingly introspective — and actor Patrick makes that clear. 

It is ironic that a musical that critiques capitalist society and the endless quest for more, more more, came to be because it was based on a popular novel and film and had immense commercial viability. But Kokandy’s intimate production gives that social commentary more room to breathe — and allows space for AMERICAN PSYCHO to be an entertaining, satirical romp. AMERICAN PSYCHO is bloody good fun.

AMERICAN PSYCHO: The Musical runs through December 10, 2023 at The Chopin Theatre, 1543 West Division Street. Tickets are $40-$50, with $30 student/senior tickets available and a limited number of $15 artist/student tickets available for each performance.

Photo Credit: Evan Hanover

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