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Bloodbath - The Musical

I had high expectations of Bloodbath The Musical - everything from their high-profile casting to glossy programme gives the impression they've spent some money on this show, and that's a rare thing at the Fringe. But my hopes were sadly dashed within the first few scenes, and I really did struggle to stick with it until the end; others in the auditorium didn't manage that longevity.

The show itself inhabits the territory associated with teen horror flicks. There's a serial killer in town called the Waterman, and he's bumping off nubile cheerleaders in droves while the local police force are clueless as to the culprit. Many red herrings are thrown in as possibilities until the final twist reveals the killer before they high-kick off the stage.

From the start there was a real sense of 'an event'. You're marshalled into the theatre by a rather rotund law enforcement officer and greeted by a thumping 3D soundscape. Clearly they are trying to create a parody of both the horror film genre and the Broadway musical, but the resultant bastard child was terribly malformed. It's grasping at the coattails of The Rocky Horror Show and Hedwig & The Angry Inch in an attempt to become the next cult rock-opera, but it fails because the story isn't as strong as Rocky, and the music poor next to Hedwig.

It's getting attention due to the stunt casting of Anthony Costa, ex-boyband member of Blue. He was billed as the school heartthrob & quarterback, but age and waistline make that a very unconvincing sale. There's titillation in the form of the cheerleaders, but it smacks of exploitation when their prom dresses are see-through. It just seemed gratuitous and unnecessary. Much like the attempt to shock, with one quite unbelievable dance routine in which the police officers do formation Nazi salutes and goose-stepping. It was at this point that the walkouts started, and I wondered whether they were trying to create the worst show ever made in some kind of confidence trick, much like The Producers' Springtime For Hitler.

The set, designed by takis (and it seems there is a contractual obligation to use his name in lower case), consists of an arc of rotating flats, black on one side and mirrored on the other. It probably looked good in the model, but in execution some panels were better framed than others and the mirrored sides where covered in hand prints and marks - which just made it all look a bit scruffy. This wall of flats produced a very binary landscape that got pretty monotonous to look at after a while and the cast battled on occasion to keep the panels in the right position.

I'm struggling to find the positives. The cast had a pretty good pedigree, and the lights where nice, but the show is riddled with unsubtle cheap gags and unsympathetic characters. The comments on leaving the auditorium kind of summed it up for me, as one girl behind me turned to her boyfriend and said 'I hope that's the worse thing we're seeing, 'cos it can only get better than that.'

Reviews by Pete Shaw

London Palladium

Hello, Dolly!

★★★★
Prince of Wales Theatre

The Book of Mormon

★★★★★
Novello Theatre

MAMMA MIA!

★★★★
The Stage Door Theatre

Marry Me a Little

★★★★★
Apollo Victoria Theatre

Wicked

★★★★
Apollo Victoria Theatre

Wicked

★★★★

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
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Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
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The Blurb

A serial killer is on the loose. Nicknamed 'the Waterman' because high school girls have been sliced and diced in water. Could it be their popular cheerleader? Fate dictates their paths will collide resulting in a Bloodbath.

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