'American Psycho' at The Almeida Theatre, London

American Psycho the Musical could have been a complete train-wreck but Goold’s new production oozes sophistication and style. This new musical thriller, written by Robert Aguirre- Sacasa and composed by Duncan Sheik, tells the story of Patrick Bateman, a business man living the high-life in 1980’s Manhattan.

We are brought into Bateman’s world from the start where Es Devlin’s set design shows us the sleek 80’s decorated apartment. This clean design is continued throughout the show but changes in location are presented through the use of different areas of the stage and revolving blocks. Perhaps the most inventive and impressive part of the set are the revolving pathways at either side of the stage. These provide changes in location and comedic moments, all of which are cleverly devised by the director Rupert Goold. The lighting again brings the audience into Bateman’s life with neon lights, split screen and projections. Projections play a key part, giving an insight into what Patrick Bateman is thinking. The white noise is projected each time a murder takes place, indicating Bateman’s irrational and Psycho nature while at the same time giving a hallucinogenic feeling.

As American Psycho is a musical I guess I should discuss that aspect of it. Although less impressive than the design and direction, the electronic music sticks to the era and creates a real sense of atmosphere. Two songs that stuck out to me was the parody to Les Miserables, contrasting the style of the whole musical, which was witty and comedic and the final song of 'This is Not an Exit' which could not have ended the show better. The rest of the songs were well done, merging classic 80's songs with witty original compositions, but were hardly something you would go home and hum, meaning that the show could not float along as a musical alone. Luckily, the plot, design and performance strengthen the show, taking some of the attention away from the less inspiring music.

The naturalistic acting with stylised songs and still images really stood out as exceptional and, creatively, it made something original and interesting to watch. Although you could argue Matt Smith’s voice didn’t quite grab your attention, I found the blankness in his voice added to the hollowness of his character and, along with the rest of his performance, showed him to completely embody his character. The stand-out performer for me was Ben Aldridge who’s portrayal of the charming big- shot Paul Owen reflects the exact lifestyle that the whole production has worked to create. Cocaine snorting Tim Price (played by Jonathan Bailey), the idea of dining in the best places and the obsession with appearance (helped by the amazing costume design by Katrina Lindsay) all added to the feeling of their endless aesthetical lifestyle.  The ensemble support the story with cut-throat harmonies and terrific choreography- the best of which is shown in ‘Cards’. The murders, the most famous part of American Psycho, are loyal to the film but are also created in a way so the audience think less about the action of the murder and more about Bateman. However, the murders are still crucial and with projections of blood splatters there is no way you can stop them being shoved in your face.

I hope this killer show does transfer to the West End, word is it may appear later this year. But for now, you just have to believe me when I say this musical thriller really was worth the blood, sweat and tears.