American Psycho – an entertaining satire of capitalism, culminating in a beautiful bloodbath
American Psycho first hit cinema screens at the turn of the millennium, starring Christian Bale as Patrick Bateman: a wealthy Wall Street investment banker whose obsession with status, perfection and self-image spirals into something far darker. Beneath the designer suits and pristine skincare routines lies a narcissism, so consuming it drives him to murder.
Now revived at London’s Almeida Theatre, Rupert Goold’s musical adaptation (originally staged there in 2013) brings Bret Easton Ellis’s 1991 novel back to the stage. With a book by Roberto Aguirre-Sacasa and music and lyrics by Spring Awakening composer Duncan Sheik, this production is a slick, savage and surprisingly entertaining satire of capitalism, culminating in a beautiful bloodbath.
Set in 1987, Patrick Bateman appears to have it all: looks, money, style and social standing. Engaged to socialite Evelyn, he is desperate to land a prestigious account at work and finally secure a reservation at the impossible-to-book restaurant, Dorsia. But beneath this polished surface, petty rivalries (including an infamous competition over business cards) ignite a simmering rage that quickly turns lethal.
Having never seen the film prior to attending the show, I watched it the night before and couldn’t quite imagine how this horror-comedy could translate into a musical. As it turns out, the answer is: quite wonderfully. Phenomenal choreography does much of the heavy lifting, brilliantly amplifying the characters’ self-obsession and hollow vanity.
The 80s synth-pop score, echoing the sound of artists like Huey Lewis & The News and Phil Collins, shapes the musical’s aesthetic, while movement takes precedence over melody. The choreography is frequently hilarious – from hyper-masculine gym workout routines (featuring the shortest shorts imaginable) to an impressively staged, blood-soaked massacre. There’s a strong Jamie Lloyd–meets–Lady Gaga energy here, adding layers of camp comedy throughout.
The story has been politically updated, peppered with Epstein jokes and positioning Donald Trump as Bateman’s hero (including a chance meeting with the man himself).
Tonally, American Psycho reminded me of one of my favourite horror-comedies, Serial Mom (1994), starring Kathleen Turner as a seemingly perfect suburban mother who murders those who fail to live up to her standards of common decency. American Psycho carries more political weight in its story but it delivers slightly less outright comedy.
The Cast
Arty Froushan plays Patrick Bateman to perfection – he takes the character on a journey of desperation, barely pausing for breath for almost three hours.
Rising star Daniel Bravo (Mean Girls, Cruel Intentions) shines as the unattainable Paul Owen. Oozing with charisma and charm, while Anastasia Martin gives powerhouse vocals as secretary Jean.
Zheng Xi Yong as closeted co-worker Luis Carruthers exudes camp desperation in his quest for Bateman’s love – with his fiancee, Courtney Lawrence (played by Tanisha Spring) giving a cheeky wink (blink and you’ll miss it) to why their relationship works in the finale.
The ensemble of exquisite dancers each have their moment to shine, whereas sadly the older characters seem rather overlooked and underused throughout the production.
The full cast inlcudes:
Evelyn Williams – Emily Barber
Paul Owen – Daniel Bravo
Craig McDermott – Jack Butterworth
Christine/Ensemble – Hannah Yun Chamberlain
Patrick Bateman – Arty Froushan
Timothy Price – Oli Higginson
Mrs Bateman – Kim Ismay
Sean Bateman – Alex James-Hatton
Jean – Anastasia Martin
Sabrina/Ensemble – Millie Mayhew
David Van Patten – Posi Morakinyo
Detective Kimball – Joseph Mydell
Victoria/Ensemble – Asha Parker-Wallace
Courtney Lawrence – Tanisha Spring
Luis Carruthers – Zheng Xi Yong
The Creative Team
Es Devlin‘s catwalk style set, mixed with Jon Clark‘s bright lighting design, allows for Lynne Page‘s choreography to come to life, while Katrina Lindsay‘s costume design proves that sometimes, less can be more.
The full creative team includes:
Book by Roberto Aguirre-Sacasa
Music and Lyrics by Duncan Sheik
Based on the novel by Bret Easton Ellis
Directed by Rupert Goold
Choreographer: Lynne Page
Set Designer: Es Devlin
Costume Designer: Katrina Lindsay
Lighting Designer: Jon Clark
Sound Designer: Dan Moses Schreier
Video Designer: Finn Ross
Music Supervisor: David Shrubsole
Musical Director: Ellen Campbell
Casting Directors: Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting
Ultimately, Patrick Bateman’s empty existence traps him in a fantasy world, leaving him incapable of achieving the one thing he truly craves: respect.
As a musical, American Psycho works but not because of its songs alone. The score often feels secondary to the stylised movement and electronic aesthetic, which at times makes Bateman’s life feel like a twisted video game.
Nevertheless, this revival is a bold, stylish and sharply observed piece of theatre. Unsettling, funny and uncomfortably relevant.
★★★★
West End Wilma
Photos by Marc Brenner
American Psycho plays until 14 March 2026
