Since its explosive inception, Bat Out of Hell has been revving up audiences with its high-octane fusion of rock opera and theatrical spectacle. Now, on its 2025 UK tour, Jim Steinman’s bombastic vision roars onto the stage of the Palace Theatre in Manchester, aiming for renewed vigour and an 8-piece live band on stage in a semi-concert setting.

The tale of star-crossed lovers Strat (Glenn Adamson) and Raven (Katie Tonkinson) remains a familiar, fever-dream mix of Romeo & Juliet and Peter Pan, but with an extra injection of operatic grandeur and leather-clad bravado that Bat stans have come to know and love.

Adamson returns to lead the company with a voice that soars effortlessly through Steinman’s demanding score, embodying Strat’s restless spirit with intensity. Tonkinson’s Raven is both vulnerable and defiant, her vocals laced with an emergent emotional weight that adds needed depth to a paper-like character. Alongside them, Rob Fowler and Sharon Sexton reprise their character-originating roles as Falco and Sloane with such effortless charisma, their chemistry ignites the stage in fiery exchanges that are as entertaining as they are powerful. Sexton in particular absorbs the spotlight here, as she wrings every last ounce out of her character arc with powerhouse vocals in the eleventh hour. This is a classic case of ‘if it ain’t broke, don’t fix it’, and at this stage- it’s hard to ever imagine anyone else stepping into her shoes.

If the cast is firing on all cylinders, then the production elements are what used to be the fuel that pushed Bat Out of Hell into overdrive. With direction from Jay Scheib, one of the more garish additions to the current tour staging is the inclusion of hand-held microphones. An interesting decision which, sadly, neglects to pay off on this occasion; they’re clunky and, frankly, get in the way. Jon Bausor’s set design still plays with cinematic spectacle, but what was once a seamless blending of towering structures with dynamic video projections now falls slightly flat. What could propel the story’s dystopian world to literal new heights is now compromised with road cases acting as set pieces with screens doing the heavy lifting. Rob Casey’s lighting design bathes the stage in electric hues, evoking both the neon glow of a dreamscape and the shadowy underbelly of a crumbling metropolis- but sometimes, in its new concert-esque form, lighting choices feel overblown and opportunities for subtlety are missed. Matt Peploe’s Sound Design is shakingly bold, immersive, and unapologetically rock ‘n’ roll- though do watch out if you’re in the firing line of the speaker bank- concert staging means concert sound levels. At times, the sheer excess threatens to overwhelm, with frenetic staging occasionally overshadowing what could be the show’s emotional core. Steinman’s narrative beats remain as melodramatic as ever, and the bombast may not be to everyone’s taste, but, for those willing to embrace the madness, Bat Out of Hell is still an all-consuming ride that refuses to hit the brakes. It isn’t everything I wanted it to be, nor is it living to its fullest potential- but I guess three out of five ain’t bad.

Bat Out of Hell plays at The Palace in Manchester until Saturday 8th March, further information and booking details can be found here.

Tickets gifted in exchange for an honest review.

Photography by Chris Davis.