A scene from Bat Boy the Musical rehearsal

Set Design: Rachel Atkinson

Lighting Design: Channing Schreyer

Photo credit: Jamie Rogers

Bat Boy The Musical, premiering in the off-broadway season of 2001, never really got its chance to really take flight having its run cut short due to the apathy of NYC audience-goers experiencing the aftermath of 9/11. It has since gone on to earn cult status, but one could argue it was always created intentionally to be a cult rock-horror musical with a comic “bite.” Inspired by the Weekly World News June 23, 1992 cover & article depicting a bat child found in a cave in West Virginia, the musical takes on “fake news" (can we all agree on that?) source material to develop what Flemming likes to call “the take it so seriously it's funny-but-it-also-hurts” style of Bat Boy. Workshopped in the style of what is termed Ridiculous Theater, the show is meant to be fun, campy (but never in a wink at the audience kind of style) and, can one say overall the world of the play and the situations are indeed…. just a bit ridiculous?

Yet through the laughter, there is a morality play of sorts at work. It is the message of “scapegoating” and “the fear of the other” that drew me to want to direct this particular piece in 2023. Scapegoating that is intended to attack and cause harm to the most vulnerable among us. In this particular State, recently we have seen amped up attacks on anyone deemed to be “other”- especially toward our drag and trans communities. The passage & blocking of Senate Bill 12 in the state of Texas (in 2023!) was deeply troubling in a sense banning “sexually oriented performance” in a law that seemed intentionally written to be vague.

Co-author Keythe Farley recommends a book called Depth Psychology and a New Ethic by Erich Neumann. Farley says, “Neumann argues that the repression of the shadow in society causes a deep need for that energy to find a target, someone, other than us, to be the shadow that we can't own, someone who we can destroy in the hopes of creating a feeling of stability for ourselves. This dynamic is at work from our first playground scuffle to the mightiest wars of our age.” 

O’Keefe says, “Keythe and Brian set out to build a darkly comic world around deadly serious themes, primarily the notion of scapegoating – how societies will blame their fears and failures on the unusual, the weak and the gifted. 

We decided to make Bat Boy all three.”

Ultimately, In the town of Hope Falls, Bat Boy is only looking for acceptance and community.

It is our hope that audiences will have a rollicking fun “laugh through your tears” night at the theater. And maybe, while viewing the performance, perhaps even utter under their breath from time to time,..... "oh my, that is just so stupid!” and then continue to laugh. 

But more importantly, perhaps on the car ride home, to mull over the message of Bat Boy The Musical and wonder…..

“So who was the real monster?”

Jamie Rogers

Director

poster design by dreux carpenter

Only 9 performances! Tickets on sale now.

The Austin Community College Drama Department presents:

Bat Boy The Musical

Story & Book By Keythe Farley & Brian Flemming

Music & Lyrics by Laurence O' Keefe

“Based on a story in The Weekly World News, BAT BOY: THE MUSICAL is a musical comedy/horror show about a half boy/half bat creature who is discovered in a cave near Hope Falls, West Virginia. For lack of a better solution, the local sheriff brings Bat Boy to the home of the town veterinarian, Dr. Parker, where he is eventually accepted as a member of the family and taught to act like a “normal” boy by the veterinarian’s wife, Meredith, and teenage daughter, Shelley. Bat Boy is happy with his new life, but when he naively tries to fit in with the narrow-minded people of Hope Falls, they turn on him, prodded by the machinations of Dr. Parker, who secretly despises Bat Boy. “ 

Director: Jamie Rogers

Musical Director: Adam Roberts

Choreographer: Allison Beaty

HLC2 Black Box Theater

October 13th - October 29th 2023

Friday & Saturday 7:30 PM

 Sunday 2:00 PM

****For mature audiences over 18. The material presented is dark and potentially disturbing to some individuals****

All ticket sales go directly to the ACC Drama and Dance Scholarship Fund.



BAT BOY TICKETS HERE!

Auditions

for Austin Community College Drama Department's production of 

Fiend’s Folio:

An Evening with the Creatures that inhabit 

William Shakespeare's Macbeth and The Tempest

Directed by Andrew Heinrich.

Auditions are open to all ACC students and the community. You do not have to be a student at ACC to audition. Roles are uncompensated.

Video Auditions due Sunday October 16, 2023, 11:59 pm 

Callbacks will be held on Saturday October 21, 2023 at 1pm. ACC Highland Campus, Building 2000, Room 2505

Performances on Friday, April 5th and Saturday, April 6th

Rehearsals: February/March 2024 (Dates TBD)

*Actors cast in the production will wear prosthetic make-up special effects as part of their character design.  Those cast in the show will be required to come to Highland Campus on selected dates in November 2023 for measurements and mould castings, as well as select times in Feb/Mar 2024 for prosthetic fittings and makeup tests.

If any issues accessing the audition form, please email jamie.rogers@austincc.edu

Fiend's Folio Audition Form!

WHO: Glass Half Full Theatre, American Artists Project, Cave Lady Studios and Creative Action

WHEN: Friday, October 20th, 2023 @ 6pm - 7:30pm 

WHAT: The Walk with Amal: “An Honor of Bravery from Bat City”

WHERE: The Texas State Capitol, South Lawn, 1100 Congress Ave. Austin, TX

COST: It is always free to walk with Amal. 

RSVP: https://events.humanitix.com/an-honor-of-bravery-from-bat-city

Little Amal is a 12-foot puppet of a 10-year-old Syrian refugee girl who has traveled across 15 countries meeting more than a million people. She will journey 6,000 miles across the United States in one of the largest free public festivals ever created. 

Everyone is welcome to walk with Amal.

Glass Half Full Theatre will be joining Amal with a cloud of bat puppets representing the power of community and the right to migrate. Kids can make their own bat puppet at home with our example, or join us at The Texas State Capitol on Friday October 20th starting at 6pm to make a bat with Teaching Artists from Creative Action. Amal will make her appearance from 6:30- 7:30pm and be presented with an award of bravery from local leaders with the American Artists Project. Music from Minor Mishap Marching Band and Mariachi Las Alteñas will lead Amal through the Capitol Grounds. 

CAST SPOTLIGHT:

CAST OF BAT BOY THE MUSICAL

Interview and cast photos by Chloe Nichols

As we reach the meager echoes of the summer and a biting chill lingers in the air, the cast and crew of Bat Boy: The Musical are in the thick of rehearsals. Bat Boy is a cult-classic musical from 2001 with a book written by Keythe Farley and Brian Flemming, as well as music and lyrics by the wonderful Laurence O’Keefe (the mind behind Legally Blonde: The Musical, and Heathers: The Musical). It is about the 1990s Weekly World News tabloid phenomenon Bat Boy and portrays a charming story with horror and comedy elements. A teenage Bat Child is found in a cave in a small West Virginia town and is scapegoated as the cause for the deaths of the town’s cows and Mrs. Taylor’s teen-aged kids. This show is a fun, campy, and eccentric show with a rock-heavy score that is sure to have you humming the tunes afterward.

As opening night approaches, we wanted to take the chance to hang with (cause bats hang haha) and interview the members of the cast before they embark on this exciting run! They have been working tirelessly learning their blocking, choreography, and the insane harmonies O’Keefe put together to bring you a wildly captivating ensemble performance with chilling vocals and uproarious dancing. We were able to speak with the following lovely members of the cast to get some insights on the rehearsal process and their experience with ACC Drama:

David Dech, who is playing Rick Taylor, Lorraine, Doctor, and Mr. Dillon

John Rodgers, who is playing Mrs. Taylor, Roy, Reverend Hightower, and Institute Man

Sarah Reynolds, who is playing Meredith Parker

Elisa Greenberg, who is playing Ruthie Taylor, and Ned

Mabel Connell, who is playing Shelley Parker

Kathleen Fletcher, who is playing Ron Taylor, Maggie, and Clem

Orlando Hernandez, who is playing Bud, Daisy, and Pan

What made you decide to audition for Bat Boy?

“I saw the initial announcement during ACC's semester showcase and thought, ‘Wow, that looks weird.’” -David Dech

“I was asked to audition by some friends. I'd always been curious about the ACC Drama Department, and I am so thrilled to have gotten in!” -John Rodgers

Were you familiar with Bat Boy: The Musical before being cast in this production?

“Only a little- from seeing it once in 2007, and listening to the cast recording occasionally.” -Sarah Reynolds

“Before auditioning I read the Wikipedia plot summary, felt vaguely nauseous about all of the blood, and decided this show was definitely not for me. But the prospect of working with such a great team ultimately drew me in, and I've begun to appreciate the humor, absurdity, and heart of the show.“ -Elisa Greenberg

How has the rehearsal process been?

“Absolutely amazing! I love our cast; we always have so much fun and everybody is so supportive of one another. It never feels like late nights because we all just enjoy being there. “ -Mabel Connell

“A dream! Everyone is both incredibly talented and incredibly lovely! It's such a gift to be able to rehearse with a full set and score so early in the process. I feel taken care of and respected as an actor, and ACC's resources make all this possible.” -Kathleen Fletcher

Favorite songs? Favorite Moments?

“I really enjoy ‘Show me a thing or two’! Who doesn’t love a good montage number?!” -Sarah Reynolds

“In Comfort and Joy Reprise when Bat Boy pleads with the townspeople, ‘I'll eat nothing but soy!’, and combined with the wonderful ensemble background voices I always get emotional. I am intense during rehearsals, but I'm a softy. I also love singing Children Children. I'm in the ensemble so it's mostly ‘ooohs’ but it's some of the best-written, most fun ‘ooohs’ I've ever had the pleasure of singing. “ -Elisa Greenberg

What do you hope the audience takes away from this production?

“Surround yourself with people who love and accept you as you are and actively want to see you succeed. It's easy to get caught up trying to prove yourself to those willing for your demise, but it is in the ones that know who you truly are that you will feel most centered at peace. “ -Mabel Connell

“I hope audiences take away that what makes us different is also what makes us special. I hope that when they walk away from the show they can extend grace and kindness to themselves and to those around them. And of course, I hope they walk away bopping some of the songs in their head.” -Orlando Hernandez

Commonly as an actor, you need a side gig to pay the bills. How do you maintain balance in your life between the two?

“Well... I work full-time as a 10th-grade English Teacher, and I feel like I am barely keeping my head above the water in all honesty. I wake up at 7:00, am in my classroom by 8:00, and teach until 5:00. Have an hour to catch up on other things, head to rehearsal and rehearse this show from 7:00 - 10:00, and then I knock myself out with melatonin to be asleep by 11:00 so I can get 8 hours of sleep and then do it all over again. five days a week. And my Weekends are filled with grading papers, and memorizing BatBoy Material. So as far as the question of maintaining balance... I suppose it's because I drink 8 cups of coffee a day and lots of water, and try to complain as little as possible.” -John Rodgers

“If at any point in the process you're finding yourself challenged and uncomfortable, that's a good thing. If you really want to make and do theatre, I advise you to lean into it! Pressure makes diamonds!” -Orlando Hernandez

Any advice for the future theatre-makers and doers?

“Just go for it, the worst thing that can happen is you're told no.” -David Dech

“Let someone else tell you ‘no’. You never know what will happen, or who will be inspired to work with you, but please don't tell yourself "no" before pursuing a dream. “ -Kathleen Fletcher

What is your favorite type of bat?

“The AUSTIN RIVERBATS, BABY!” -Sarah Reynolds

“River Bats! Go RB!” - David Dech

“Any cute ones like the hog nosed bat !!” -Mabel Connell

“Well, it's definitely not a baseball bat. As a native Austinite, I've got to go with the Mexican free-tailed bats!” -Kathleen Fletcher

“The Flying Fox Bat is def my favorite. Mostly cause they're so darn cute!!! Look at that adorable face!!!” -Orlando Hernandez

“The kind that is also part Boy.” -John Rodgers

“Congress Street Bridge Bats!” Elisa Greenberg

Registration for Spring 2024 ACC Drama Courses opens next week!



REGISTER HERE!

ACC Drama’s production of The Snow was nominated for 8 B Iden Payne Awards!! 

Production of Theatre for Young Audiences 

Outstanding Direction of Theater for Young Audiences

2 nominations for Outstanding Lead Performer in Theatre for Young Audiences

Set Design

Original Score

Puppet Design

Outstanding Wig Design

GUEST DESIGN ARTIST SPOTLIGHT:

ZIA FOX https://www.ziafox.com/

Interview by Jamie Rogers

Where are you from? What schools have you attended?

I’m from Jerseyville, Illinois – a small town in the greater St. Louis, Missouri area. After finishing high school in Jerseyville, I went to the University of Illinois at Urbana-Champaign where I received my BA in Music Technology, my MFA in Sound Design and Technology, and a Graduate Teaching Certificate.

What draws you to designing sound for theatre?

I’ve always enjoyed making weird and silly sounds. I got into video editing as a kid, and I fell into sound editing from there. My love for music also ties into this. A well-executed sound design feels musical to me.

What are some challenges with live mixing for a musical?

In my experience, musicals have way more sound equipment than straight plays. When you’re mixing a musical, you have more things to consider – especially with a live band. I think the biggest challenge for mixing Bat Boy will be adapting to the differences between speaking and singing. And, as always, producing the fullest sound while also avoiding feedback.

Can you tell us a bit about your design process?

I am very gear focused when I design musicals. My main priority is making sure the room sounds beautiful so that our performers can truly shine. Sound effects end up taking a back seat for me. In contrast, when I design straight plays I almost immediately start making sound effects.

Why did you decide to pursue sound design as a profession? Are there particular productions that you are drawn to?

After a rough run of acting in high school, I thought I would never return to theatre. But in my junior year of college, I took a theatre sound design course and I realized how much I enjoyed sound design. My favorite production is Next to Normal. I love the rock opera medium used to portray a family struggling with mental health. I got to see Alice Ripley when she toured with the show and I still get goosebumps thinking about her performance.

Is there a favorite production? What are some productions you have been sound designer for in Austin, TX?

I’ve worked a lot on operas, and my favorite production to work on was Turn of the Screw. A horror opera with ghosts, cool sound effects, and clever projection design – yes please! In Austin, I have designed In the Heights and Alice’s Wonderland for Summer Stock Austin, and Godspell at St. Edward’s University. I have limited time to design since I have a full-time job, but I am always thrilled to design when I can.

Godspell, St. Edward's University 

Turn of the Screw, Lyric Theatre @ Illinois

Describe your design process for our upcoming production of Bat Boy the Musical. What are some of the design challenges?

ACC is in the process of building up their musical theatre program, so I’m in a unique position as a guest artist to be a part of that. I only had a few sources to ask, “How have you done this in the past?” When I accept a new design job, I rarely like to push the limits of the space and the team. Because this is the first time ACC will have 10 mic’d actors in the space, I had to be way more bold in my approach than I normally am for this show. The theater itself is remarkably sound-treated, it’s almost like being in an anechoic chamber. I have never had the opportunity to design in a space like this which is both exciting and daunting. I’m not going to fully understand how sound reacts in the space until I get into tech week. My experience with this production has been all about pushing boundaries, and overcoming difficult conversations about what we need to make this show, and future shows, sound great. The ACC production team and theatre staff have been so wonderful to work with through this whole process.

Are you currently working on any other projects?

I will be returning to St. Edward’s University in April 2024 to design Into the Woods.



Any advice to students who wish to pursue a career in sound design?

I have a few things. First… Protect your ears! I always carry earplugs with me. Second… Diversify. There are many doors that sound design can open. Theatre, children’s shows, touring with bands, IATSE or other unions, home installations, TV & movies, video games, podcast editing. You may realize that you only want to do musicals, or that you would rather be a mixer. Even if you can’t do it full time, the communication and listening skills you gain are paramount for any path you take.

What are your future plans?

I’m working on transitioning to a full-time IT position, and I anticipate doing sound design part time all the while. My fiancé and I are planning to move north in a few years. I’d love to end my career teaching sound design at the university level. Until then, you can expect to see (and hear) me sound designing in Austin every so often.

Our friends at Penfold Theater are producing Art by Yasmina Reza this November!

The lives of three old friends are turned upside down when one of them spends a small fortune on a white painting! This “remarkably wise, witty and intelligent comedy”, winner of the Tony Award for Best Play, grabs us between laughs to ask poignant questions about the meaning of art and friendship.

Website: https://www.penfoldtheatre.org/event/art/2023-11-18/