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American Psycho

 
Richard Beck Review by Richard Beck 4 Published: 5 Feb 2026 Almeida Theatre Show Dates: 22 Jan 2026-14 Mar 2026

The show that initiated Rupert Goold’s tenure at the Almeida as artistic director is now revived as his last before moving to the Old Vic. He described that premiere production of American Psycho as “an over-ambitious show for the space”.

Packed with energy, moves at a pace and has a stylish ensemble

Now the first two rows have been taken out to accommodate a matt black raised thrust platform consisting of embedded LED panels. These are the vehicle for some very impressive sequences by designer Jon Clark, who creates stunning lighting effects throughout. LED concertina curtains at the rear open to reveal various sets, while two floor panels form a trapdoor from which the meticulous, yet minimalist, sets by Es Devlin emerge, often with a character in situ. The otherwise bare stage also provides space for some tightly choreographed numbers by Lynne Page, in keeping with the period, locations and moods of the plot. With music supervision by David Shrubsole and director Ellen Campbell, sound design from Dan Moses Schreier, who perfectly judges the volume, and video design from Finn Ross, the achievements of the creative team take their place among the highlights of the production.

The show is dominated by Arty Froushan, who reveals his character in opening words from inside the shower: “There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory.” Froushan is as fit as Bateman boasts himself to be. He exudes privilege, money, class and expensive taste to a level that makes him somewhat obnoxious, in addition to being an investment banker. Nothing he owns or uses is ever mentioned without the extravagant designer name adjectivally attached. He epitomises the saying, “If you’ve got it, flaunt it.” That includes his glamorous, strikingly dressed fiancé, Evelyn Williams, assertively played by Emily Barber, whose costumes are some of the many fabulous numbers designed by Katrina Lindsay. Together they might look the part, but we become increasingly privy to stresses beneath the surface. The only thing missing in his life is the highly lucrative Fischer account. That jewel in the crown went to Paul Owen, and Daniel Bravo wears it with casual pride, knowing that it turns Bateman green with envy.

In addition to foot-stomping original electropop music and lyrics by Duncan Sheik, there are well-known songs from the period, of which In the Air Tonight is the most poignant, marking a turning point in Bateman’s behaviour. In a chilling moment listening to:

“I can feel it coming in the air tonight, oh Lord.

And I've been waiting for this moment for all my life, oh Lord.”


We remember his words from the shower and the psychopath is let loose. Add to that Phil Collins’ own words that in the song “there's a lot of anger, a lot of despair and a lot of frustration”, and it becomes the perfect fit for Bateman.

Goold’s production is packed with energy, moves at a pace and has a stylish ensemble.

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The Blurb:

There is an idea of a Patrick Bateman, some kind of abstraction, but there is no real me, only an entity, something illusory.

Patrick Bateman has it all – looks, money, style and status. Engaged to the beautiful Evelyn Williams, he is about to win the prestigious Fischer account for his investment bank and celebrate by dining at Dorsia. But there’s another side to his life that Patrick keeps secret. And people – including those closest to him – keep disappearing…