Review: AMERICAN PSYCHO, Almeida Theatre
Photo credit: Marc Brenner
In Rupert Goold’s final season as artistic director of the Almeida Theatre, American Psycho returns in a moment that feels disturbingly apt. Thirteen years on from its original acclaimed run, this icily satirical musical once again explores nihilism and the bleak 1980s landscape of hyper-masculinity.
Set in a world of fast money, cocaine, and prostitutes, American Psycho presents a society driven by status and excess. At its centre is Patrick Bateman, a 27-year-old investment banker who, on the surface, appears to have it all: a luxury Manhattan penthouse, a beautiful girlfriend, and elite social status that only a six-figure salary can buy.
Beneath his polished veneer, however, lies a hollow and violent psyche. Trapped in a web of narcissism, Patrick aches to be seen as an individual by those around him, lashing out at the perceived lack of authenticity.
Given current events in the United States, this revival feels particularly timely. The current occupant of the White House receives more than a few mentions, serving as an idol to Bateman and his cohort, who treat The Art of the Deal less as a book and more as an aesthetic to aspire to.
Goold’s direction is urgent and vivid, making full use of Es Devlin’s stark, clinical thrust-stage design. Jon Clark’s exposing lighting further intensifies the experience, resulting in striking and sometimes uncomfortable theatre.
And that is exactly what this production is: an experience. While American Psycho is a musical, Duncan Sheik’s score - steeped in emotional detachment and coldness - keeps the audience at arm’s length, reinforcing the show’s unconventional nature.
By contrast, Lynne Page’s choreography proves hypnotic, capturing the brooding, minimalist mood of the piece to near perfection.
It is ultimately the cast performances that elevate American Psycho to such extraordinary heights. Arty Froushan oozes charisma as the charming yet deeply disturbed Patrick Bateman. Emily Barber excels as Evelyn, Patrick’s vapid love interest, and together with Tanisha Spring’s Courtney provides moments of genuine levity. Daniel Bravo delivers a standout performance as Paul, never allowing emotion to betray his cold, corporate exterior.
The main cast is completed by strong performances from Oli Higginson as Timothy, Jack Butterworth as Craig, Zheng Xi Yong as Luis, and, in particular, Anastasia Martin as Patrick’s secretary Jean. Martin’s authenticity and goodness momentarily disrupts Patrick’s murderous crusade, and her chemistry with Froushan in the second act is especially powerful.
If ever there were a true ensemble musical, American Psycho is it. Standout contributions come from Asha Parker Wallace and Millie Mayhew, but a special mention must go to Hannah Yun Chamberlain, who is utterly captivating throughout.
Striking a balance between violent drama, dark humour, and commentary on the state of a nation, American Psycho remains boldly unconventional. While the ending may feel somewhat unsatisfying, this revival ultimately stands as a production for the ages.
***** Five stars
Reviewed by: Tom Ambrose
American Psycho plays at the Almeida Theatre until 14 March, with further information here.
