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“‘American Psycho’ is a mess. That’s not because of all that sloppy, sloshy blood, but because of its terminally undecided tone. And it’s not the kind of mess you wallow in, hooting at the glorious chaos of it all. Its conflicts of intention cancel one another out, leaving you numb...Mr. Walker, who oozed charisma in ‘Bloody Bloody Andrew Jackson,’ holds the show together, for sure...Mostly, though, this psycho is neither scary nor sexy, nor is the show in which he appears.” Full Review
“How do you adapt a sadistically violent book for the stage? Tone down the gore and dial up the satire. And that’s how Broadway’s ‘American Psycho: The Musical’ ended up less about a serial killer than about late-’80s excess and synth-pop tunes...The second act flags but the score is strong...Duncan Sheik’s synthesizer-heavy music...delivers a worthy follow-up to his ‘Spring Awakening'...A comic 'American Psycho' you can dance to? Somehow, it works.” Full Review
"This distinctively modern show offers an uncomfortable mix of hilarity and horror…Under the masterfully precise direction of Rupert Goold, this roller-coaster ride will have you peering over your shoulder at the well-dressed patrons behind you…Everyone in the cast excels in this vocally and physically challenging show…Unfortunately, the dragging second act is wrapped up by a sung conclusion that tells us what to think about what we have just seen." Full Review
"There’s no heart but lots of blood in Duncan Sheik and Roberto Aguirre-Sacasa’s witty musical treatment of the scandalous novel...Director Goold serves up the greedy ’80s vibe with knife-edge tech design and razor-sharp musical choices…The staging is consistently stylish, and the well-drilled ensemble work is consistently impressive. Nevertheless, the second act is disappointing. The humor is less manic, the songs less cutting, and, more critically, the violence is not violent enough." Full Review
"Rupert Goold’s production looks terrific...Fans of Bret Easton Ellis’s gruesome 1991 novel, and especially of Mary Harron’s less explicit 2000 film version, will scream with delighted recognition, and there are sharp performances...Roberto Aguirre-Sacasa’s adaptation emphasizes (perforce) humor over gore and tries to hint at a sensitive soul behind Patrick’s sleek facade. But numbness sets in...Neither the violence nor the satire can cut very deep when its targets are so thin." Full Review
“Only the point of the show is invisible. Everything else is on vulgar display...What could the musical’s director and authors have thought they were bringing to the musical form by applying it to this material or to this material by squeezing it so sloppily into the tube of the musical form?...The combination of vague rhymes and noodly structures makes for songs with no profile and thus no weight in the storytelling...Bateman’s a bore.” Full Review
“A bold and perilous artistic endeavor, this musical is also something of a tonal muddle, approaching the material from myriad angles which don’t ultimately form a persuasive whole...This is an inarguably stylish undertaking and sometimes an exciting one...Often the production delights...There are some good jokes about art and politics...Still, the result is oddly evanescent, so sleek and gym-toned that any real stab at meaning or consequence slides off and away.” Full Review
“‘American Psycho’, a musical about a fashion-conscious serial killer, is not the most misbegotten show ever on Broadway. It only feels that way for a couple of moments...The surface of the show is, admittedly, a triumph, visually striking from its first moments…Slickly directed by Rupert Goold...the musical showcases the work of its design team…‘American Psycho’ is well executed – entertaining even – but what exactly is the idea?” Full Review
"Rarely has a team of top talents so thoroughly conspired to deprive the audience of an entertaining evening...The show is a largely pleasure-free excursion...Opportunities for satire are exhausted after one or two scenes...A better musical score might at least have given the story a jolt of energy...'American Psycho' has two things going for it: The first is Benjamin Walker...The production also benefits from a dazzling physical production. " Full Review
"One problem is the story’s essential plotlessness...Lynne Page’s choreography makes excellent use of the 80s’ electro-pop club music that informs much of Sheik’s beat-heavy score, fun to hear but little of it more than momentarily memorable...Benjamin Walker walks the walk, talks the talk, looks the look, sings the songs, and dances the dances. Resistance to him, I’m afraid, is futile. This guy kills it." Full Review
“Is it a first-rate musical? Not quite...But the show is a very sharp, distinctly theatrical treatment of its source material, in many ways improving on Mary Harron's movie version from 2000...Walker is charismatic and commanding, but it's the broken, corrosively conflicted aspects of his characterization that make the performance so hypnotic...Even with its flaws, the musical is a bloody good time.” Full Review
“Slick, sleek and empty, a one-joke show that drowns its message, such as it is, in red sauce and fake emotion...Mr. Walker plays Bateman as a ripped hipster, which is just right...Some of Mr. Sheik’s songs are quite harmonically fresh...You’ll find its wit elephantine and its lapses into sentiment hypocritical. The only good thing to be said for the show is that the onstage bloodshed has been self-consciously reduced to a highly stylized minimum.” Full Review
“Captures the designer chic milieu, materialistic attitude and dance club sound of 1980s Manhattan while adding a pervading sense of eerie unease...Notwithstanding all this, the piece has serious structural problems...Duncan Sheik’s electronic, often dissonant score has a monotonous feel, which may explain why a few ’80s pop hits have been thrown in. I came away feeling that ‘American Psycho’ works better as a drama with background music instead of a fully-blown musical.” Full Review
"'American Psycho' gets going like gangbusters. Goold and team instantly knock patron’s eyes out, and they’re abetted by Lynne Page’s choreography…The problem is that keeping up the harsh regard soon palls. It isn’t exceptionally long before the audience has registered Bateman’s cold temperament and is increasingly cooling towards it. Unfortunately, Goold and dramatist Aguirre-Sacasa deem it necessary to offer more of the same, only ratcheted up." Full Review
“A big, Broadway misfire...The heroes here are a shimmering sextet called Huey Lewis and the News, who produced one of the few worthwhile songs and the only memorable moment in this sterile, static, and flat-out frustrating evening...Sacasa and Goold prevent anything from catching fire. To where can you build when you telegraph the end from the beginning as fearlessly as the creative team here does?...This 'American Psycho' is too square to be hip.” Full Review
"Walker is a marvel to watch...On a sensual level, the first act of this flashy, noisy, throbbing show is relentless—shocking the senses, and leaving you wanting more...But, all of that artistry, while attractive and stimulating, overpromises, as there is no satisfying payoff...The big finale, while beautifully executed, falls flat, as it is devoid of meaning. 'American Psycho' has more than second-act problems; it has what’s-the-point problems." Full Review
“Goold's staging evidences little in the way of consistency...a tendency that, frankly, infuriated me all night long, mostly because I could see the argument for taking that very approach…It's a myopic mess, musically...‘American Psycho’ still ends up as an often cheap parody of the late 1980s rather than an in-the-moment vivisection of the time...For that, the show needs sharper edges and much more careful observation.” Full Review
“With its wicked wit, catchy ear candy and sexy cast, 'American Psycho' gives you a killer buzz—for a while...Director Rupert Goold’s staging boasts signature flash and style...The pace and interest slacken in the second act, when Bateman goes on a killing tear. The rampage generates as much terror as Road Runner and Wile E. Coyote. Minus a keen sense of danger, the show’s point is blunted...Through it all, handsome, hardbodied Walker hits all the right notes, seemingly without effort.” Full Review
“There may be a hipster audience for this, but I wasn’t buying it...Moreover, Aguirre-Sacasa and director Goold (and possibly Walker as well) have conspired to defang Patrick somewhat, embellishing his back story and the possibility of redemption. The sum of these effects is to create a celebration of vapidity and inhumanity that is itself vapid and inhuman. Didn’t do much for me.” Full Review
“Were it not for Benjamin Walker’s formidable craft, ‘American Psycho’ would be as much of a horror as Mr. Aguirre-Sacasa’s weak and shallow book - this musical is pure comic book and more anime than theatre. And Duncan Sheik’s music and lyrics are equally unsatisfactory...Worth the visit to see Mr. Walker’s electrifying performance and to allow his Patrick Bateman to rattle the recesses of the American psyche within and outside the theatre.” Full Review
"'American Psycho' is jagged and edgy, but sadly, the intensity is limited and it falters in its engagement...The music and songs are penetrating, loud, and harsh in a perfect 1980s kind of way, and in this lies the problem. It does look amazing, graphic and violent, but alienated with little underneath...At times I loved the critique and the irony, but as with sarcasm, it gets tiring after a time, and just leaves you as cold and isolated as the Wall Street bankers." Full Review
“Based on the Brett Easton Ellis novel which led to the equally controversial movie, this ‘American Psycho’ has been given a sensational high-concept production by Rupert Goold. The story of a Wall Street investment banker who moonlights as a serial killer by night is a high-camp satire of the conspicuous consumption, greed and excesses of the late 1980’s. As anti-hero Patrick Bateman, charismatic Benjamin Walker returns to Broadway for the first time since ‘Bloody, Bloody Andrew Jackson’.” Full Review
“The gloriously gory, sleek, over-the-top musical is a darkly wonderful adaptation of the once-controversial novel by Bret Easton Ellis...The creators haven't held back...Graphic sex acts, torturing, stabbing, slashing, axe-wielding, snorting coke off toilets, unsexy orgies and bones cracking are just part of the horrors...Sheik's electronic-and choral-based score is marvelously varied...‘Selling Out,’ the musical's standout track, is infectious...Come, but bring an umbrella.” Full Review
“Well, does it kill? The answer is definitely yes, no and sometimes...I found myself pummeled between affection for the witty ingenuity and annoyance with the flabby repetitions in what desperately wants to be both high-camp beefcake and an audacious Wall Street satire...But then, in the middle is Benjamin Walker, so weird and nuanced as Patrick that misgivings about the vehicle feel almost churlish. This is a wonderful performance of an awful guy.” Full Review
“"A triumph of style over substance...The soullessness of consumerist capitalism in the Reagan era is well-captured...The whirling sets, hyperactive videos, bright lights and gaudy costumes eventually produced a feeling of sensory overload and a diminishing conviction that the story was worth all the effort involved. The second act loses some of the early energy. Nevertheless, as its best moments, the show’s style overcomes its flaws and makes for edgy entertainment.” Full Review
See it if you like risqué shows. It is very shocking and gives the audience an adrenalin rush.
Don't see it if you are uncomfortable with stage blood or sexual moments on stage.
See it if You're curious about how the movie translates into a musical, to hear a really beautiful a capella cover of "In the Air Tonight"
Don't see it if You can't overlook the awful and absurd moments/style
See it if you feel like seeing good looking actors on the surface level.
Don't see it if you are a fan of Duncan Sheik, there were only two to three good songs. All other songs felt forceful and pointless.
Also The best part of this show was the first 30 seconds.
See it if You grew up in the 80s or love it anyway, including the music, fashions & trends. You read the book or saw the film already.
Don't see it if You really prefer pieces that take place in the now. You don't get into dark humor. You want a quiet evening out at serious theater.
See it if If you want a really weird show with great performances and VERY modern music.
Don't see it if If you don't like electronic music or the movie. Or if you don't want sexually explicit images.
See it if you like a synth-pop influenced score and enjoy more of a feast for the eyes than for the ears or the mind.
Don't see it if you liked the movie or book, and wished that no one had mucked around with the plot before it went on stage; you dislike bad lyric writing.
See it if you can appreciate satirical humor, want to see clever staging, and hear a more electronic score instead of standard fare Broadway showtunes
Don't see it if you were only going to see Alice Ripley (her role is minimal), you hate loud, electronic music or the late 80s.
See it if you connect with the film or the book, love Duncan Sheik's music, and love the 80s and thrillers. Very original visual design.
Don't see it if you don't enjoy horror, or have no connection to the era. The design only gets the show so far and the material is just so-so.
See it if you want to watch a very bizarre and over the top musical with a terrible storyline and awkward acting. And enjoy old techno pop.
Don't see it if you want to see a cohesive, moving musical.
See it if you bask in the 80s satire; this show is unabashedly over-the-top (sex, drugs, blood, few clothes, disillusionment) & it's great
Don't see it if you don't like the 80s camp tone - you'll either love it for what it is or probably hate it; actors wearing few clothes/blood offends you
See it if you're a fan of the book/movie or just up for an entirely different experience. The performances, direction, choreo., & STAGING are amazing.
Don't see it if you can't get a ticket because the public didn't know how innovative and exceptional this is and it closed.
See it if Benjamin Walker. He has so much charisma in this role and is totally present in every scene. Great renditions of pre-existing pop songs.
Don't see it if PB has millenial ennui & a romance plot to make him more sympathetic. It muddles the original material. Poor choreography. Mediocre songs.
See it if You want to enter the world of a handsome, designer -dressed, young hotshot who has a New York life that includes multiple murders. A riot!
Don't see it if You do not want to see sexy dance numbers, and would be uncomfortable with subject matter of madness and murder laced with sardonic humor.