Closed 2h 40m
American Psycho
Midtown W
77

American Psycho NYC Reviews and Tickets

77%
(827 Reviews)
Positive
80%
Mixed
13%
Negative
7%
Members say
Edgy, Great staging, Ambitious, Entertaining, Clever

About the Show

The musical 'American Psycho' is based on the Bret Easton Ellis novel about a Wall Street banker set in the excess of 1980s Manhattan, and features music by Duncan Sheik.

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Member Reviews (827)

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84
Funny, Entertaining, Great staging, Original, Thought-provoking

See it if You can laugh at the whole complete silliness of it all. It's a lot funnier than I expected.

Don't see it if You don't like 80's music.

77
Great acting, Great staging, Edgy, Entertaining

See it if Saw this years ago, never reviewed it here. Ben Walker was very good. Brought me back to the 80s, fashion and sayings. Great directionandset

Don't see it if If you dont like vulgarity. If you like the book better. It's better then the movie for sure.graphic scenes.

Critic Reviews (77)

April 21st, 2016

“‘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.”
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April 22nd, 2016

"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."
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April 21st, 2016

“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.”
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April 21st, 2016

“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.”
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April 21st, 2016

"Did he or didn’t he? That’s the question at the soulless heart of the Broadway musical centered on everyone’s favorite fictional ax-wielding ’80s antihero (Benjamin Walker, staggeringly good)...If you can resign yourself to the story’s innate ambiguity, you’re in for a perversely enjoyable experience. The script captures , and deftly skewers, all of the 1980s’ most over-the-top obsessions...Sheik’s bizarrely catchy, entirely electronic score plays like something blaring at Tunnel in 1989."
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April 23rd, 2016

"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."
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April 21st, 2016

“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.”
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May 1st, 2016

"You leave both dazzled and disappointed...Sometimes it’s imaginative. At other times, boring and uncertain. And at nearly three hours, always too long. The pointless finale, in which Patrick asks the audience to like him, suggests that what we’ve just seen has been an illusion. Sterility sets in, diluting the entire enterprise. Despite my reservations, it’s worth seeing for the flamboyant effects and for Benjamin Walker’s spectacular, unflagging charisma."
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April 21st, 2016

“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.”
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April 23rd, 2016

"A theatergoer might conclude that the darkest, most diabolical desire of Patrick Bateman is to bore his victims to death. No other rationale burbles compellingly to the surface to explain this slick and tedious adaptation…Goold’s shiny production, churning vapidly to the beat of composer Duncan Sheik’s surprisingly clunky, characterless songs, charts the homicidal rampage of Patrick…If the satire were more stinging, the show might stand a chance."
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April 21st, 2016

“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.”
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April 21st, 2016

"The emptiness at the heart of 'American Psycho' is the source of both its originality and its eventual tediousness. What succeeds as satiric comedy falters when the mood turns more serious. But when the show works, it does so with tremendous flair. This isn't another 'Sweeney Todd,' but its sharp style lifts it above the mercenary rung of most musicals spun from pop cultural ephemera."
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April 21st, 2016

“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.”
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April 21st, 2016

“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.”
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April 21st, 2016

“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.”
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April 21st, 2016

"A slickly thrilling production, even as impressive as its hunky leading man - amply endowed with a set of pipes and acting chops to die for…Walker perfectly captures the novel's cynical view of Wall Street's narcissistic consumer culture...Roberto Aguirre-Sacasa does a fine job balancing the story's dark humor with its deadly serious overtones…Goold's stylized staging provides us with a uniquely compelling vision…And the performances - all spot on."
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April 21st, 2016

"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."
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April 22nd, 2016

"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. "
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April 21st, 2016

“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.”
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May 16th, 2016

“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’.”
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April 21st, 2016

"Converting such a crazy, confounding and notorious novel into a Broadway show is no easy task and the results here are applaudable but inconsistent. At its worst, the show is muddy and plodding. But at its best, American Psycho is a high energy, top-of-the-line visual spectacle with catchy songs and strangely mesmerizing choreography...At the end of it all, Patrick Bateman explains to us that he has no clear sense of self. I’d say the same about the show he lives in."
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April 21st, 2016

“The workmanlike script and lyrics evoke the aspirations and anxieties of Reaganite America...Sheik's pleasant though bland musical score replicates effectively the moods of pop hits of the day...Lacking the acute sense of danger that effective horror stories must have, 'American Psycho' relies for thrills on the Grand Guignol pleasures of its top-flight design team...This anemic new musical adds little, if anything, that's noteworthy to what Brett Easton Ellis said 25 years ago.”
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April 21st, 2016

"For those who will undoubtedly see a reflection of the very same shallow New York they still inhabit, the show will be the most terrifying experience they’ve had on Broadway...The show becomes a provocative character study, rather than have the audience study, judge and dissect Patrick and company, we are invited to develop empathy for them, something which proves to be challenging, discomforting and ultimately quite moving."
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April 23rd, 2016

"'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."
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May 11th, 2016

"The musical never reaches operatic levels of violence, bloodshed, or lunacy...It’s frustrating because the show is actually touching on interesting ideas...Worse, there are cutting moments that click and make you sense the promise of a great play (less so the promise of a great musical), but those moments fade and it dwindles into something less precise. Somehow it’s frequently funny, often entertaining, and yet still not cohesive. But Walker’s performance alone is worth seeing."
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T
May 26th, 2016

“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.”
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April 21st, 2016

"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."
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April 21st, 2016

“‘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?”
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April 21st, 2016

“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.”
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April 26th, 2016

"'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."
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B
May 8th, 2016

“"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.”
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April 21st, 2016

“Sheik’s music gives Bateman a soul...Walker emerges as far more tortured than Bale...Musicals need more narrative drive than movies, and Walker (with help from Aguirre-Sacasa) supplies it...Es Devlin’s set design also provides a marvelous journey...Depending on how you look at it, it’s either horrifying or a hoot that audiences applaud when a musical number ends in mayhem. Goold and his book writer sometimes scrape the bottom, especially with the too easy references."
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April 21st, 2016

“Roberto Aguirre-Sacasa's razor-sharp libretto, looms larger and sparks more debate than ever...The triumph of this ‘American Psycho,’ directed with gale force and fabulous style by Rupert Goold, is that it doesn't get lost in the details informing its brilliant, brutal satire...There is human pain and soulful beauty in Sheik's score...But for all its sobering, scathing elements, ‘American Psycho's’ ingenuity and sheer vivacity will leave you as invigorated as you are spooked.”
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April 21st, 2016

“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.”
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April 22nd, 2016

"Sheik’s strengths as a songwriter are clearer in the show’s slower, more heartfelt ballads, but overall, the score does little to propel the story forward — its only essential task...While certain visual sequences may be provocative to look at, they fall short of fleshing out the psychosis at the center of the story...The follies of material obsession are by this point so familiar, that making a spectacle of them without saying anything new feels a bit pointless."
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April 22nd, 2016

"I appreciated Goold's sleek, energized production of 'American Psycho'; and Duncan Sheik's smart, 1980s-pastiche score and the wit and charm of leading man Benjamin Walker — all while remaining totally indifferent to the show's story and characters...It's hard to see the reason for the musical...There's no way that Walker can make the self-infatuated, murderous Bateman even remotely sympathetic...It doesn't make for a very fulfilling 2 1/2 hours in the theater."
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April 21st, 2016

"It’s consistently satirical, insistently techno and hyper-raunchy. Alas, there’s no drawing blood from a stone. The weak link is Duncan Sheik’s inaccessible score...Walker’s nailed the requisite mix of narcissism, rage and soullessness...The first act is stronger than the second...This may be why ‘American Psycho’ failed to stir me: The notion that evil lurks where we may not expect to find it isn’t shocking anymore. Still, this 'Psycho' would prefer to make you laugh than scream.”
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April 27th, 2016

"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."
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April 29th, 2016

"A dazzling and original musical theatre piece...Startling and entertaining throughout...The role of Patrick Bateman in this daring musical puts Walker center stage with the kind of performance that turned Hugh Jackman into a major musical theatre star in 'The Boy From Oz'…This is a beautifully crafted example of how gifted writers and directors can transform a successful novel into something seemingly brand new."
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April 19th, 2016

“Mr. Sheik’s songs tend to bleed into each other with few if any distinguishable showstoppers. The best moments recycle tunes from the era—leading me to suspect this might have worked better as a jukebox musical or a play with occasional numbers. Nevertheless, one can’t help but appreciate any show that features a song in which, among a recital of items reported by the New York Post, we hear of mutant alligators in the sewers and Cannibalistic Humanoid Underground Dwellers.”
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April 25th, 2016

"Benjamin Walker is terrific as the increasingly haunted Patrick...Act One is sardonic and kicky—a new kind of slickly cynical. Act Two loses a little steam...but it’s still innovatively presented while re-proving the old adage that sex and violence sell. I loved the show, finding it way more fascinating than the kitschy, more heartwarming musicals made out of old films.”
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April 28th, 2016

“The book by comic book writer Roberto Aguirre-Sacasa strives for satire, but it’s comic book. The lyrics, aspiring to trenchant social commentary, by Duncan Sheik aren’t much more than run-on, name-dropped references to '80s fashion and culture...Incredulously, ‘American Psycho’ takes itself seriously. Too bad. With more confidence it could have been camp. Not good camp, bad camp, but better than the satire it pretends to be.”
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April 22nd, 2016

"Rupert Goold's staging has gained in confidence and élan since London. Bustling, bristling and brilliant, it perfectly captures the queasy, restless energy of a New Yorker hurtling rapidly out of control. Ellis' portrait of a late 1980s New York species of entitled, Harvard-educated investment banker facing existential emptiness is perfectly pitched as a glossy Broadway musical, and the preening and swagger of the characters is matched by that of the production."
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April 21st, 2016

“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.”
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April 26th, 2016

"But despite copious blood, the production is oddly sanitized; it comes off as less an effort to bring the Eighties closer than an attempt to push their horrors — still largely with us — farther away…Aguirre-Sacasa captures the story with concise dialogue, and theatrical form allows for hilariously stagy choices…But what's missing is darkness and ambiguity…Sheik's songs blur together uneventfully, upstaged by renditions of period hits like 'Don't You Want Me.'"
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April 21st, 2016

“I walked out of ‘American Psycho’ the musical thinking that it was too sanitized...I find I'm ambivalent about this production. There are elements to praise, but it doesn't thrill like a thriller should...There are some choices and 80's nods in this production that baffle me or feel like pandering...The ending, like in the movie, is enigmatic...And that's part of my struggle with the show. There's a foreboding sense of doom in the air... but ‘American Psycho’ just doesn't feel dangerous.”
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April 26th, 2016

"The show unfolds like an extended MTV music video from back in the day. Benjamin Walker is instantly riveting as antihero Patrick Bateman...Throughout the first act, Mr. Walker really carries the show with his arresting stage presence, despite the fact that his Patrick Bateman and nearly all the characters are vapid, one-dimensional stereotypes...By Act II, the narrative becomes far too puzzling and unfocused...The plot twists are just too muddled and convoluted for musical theater."
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May 31st, 2016

"'American Psycho' doesn’t resemble any other musical, mostly because it doesn’t want to. While some shows have been said to 'move like the wind,' Goold has this one roar across the stage like a tsunami...'American Psycho' is something to experience rather than enjoy. But one must admit that this is probably the best possible adaptation of 'American Psycho' that anyone could possibly create."
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April 22nd, 2016

"'American Psycho' is so overwhelming that you will remain overwhelmed for most of its lurid two acts. It is a brilliant piece of stagecraft with some terrific performances and musical numbers...The first act is probably the finest on Broadway today and when you head for intermission minus an axe, you really will be shaking your head or just shaking. The mayhem slows down near the end of the second act as a silly love affair goes on way too long."
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April 26th, 2016

"A high-octane nightclub musical that you leave still feeling the reverb of the evening in your chest...Directed by Rupert Goold, 'American Psycho' doesn’t give you a moment to breath...Oft times it was unclear of the true tone of the show, one half pulling toward the absurd, and the other wanting to explore Bateman’s earnest drops of needy humanity. It is this extraordinary sense of disconnect that works...A darkly funny romp into a decade not yet forgotten."
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N
April 22nd, 2016

"For all its delicious period satire and existentialist underpinnings, it’s a show that struggles to justify its own existence. Yes, it’s fun and gory, but it doesn’t really need to be here…While breathing new life into a Phil Collins song is admittedly an amazing feat, it’s not enough to elevate this musical beyond its kitsch. Absent Ellis’s gross descriptions of the killings, or Christian Bale’s raw intensity, 'American Psycho' suffers from an identity crisis."
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T
April 22nd, 2016

"Aguirre-Sacasa has adapted Ellis’ novel of amorality into a tautly entertaining tale that both mocks the period but also subversively questions the whole narrative…Underpinning the story is the glossily electronica-heavy score from Duncan Sheik of which I have to say I am a big fan…Yes, the show feels a bit like empty calories, it hasn’t much depth to it in the final analysis but like candy floss, it is hugely, hugely satisfying in the consumption."
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H
April 22nd, 2016

"The entire production reads like one long MTV video inspired by Lady Gaga. With music by Duncan Sheik, this is a performance that's equal parts weird and wonderful…The songs are more lyrically ironic and nostalgic than melodic, and they take a stab at the big themes of a decade defined by capitalism and greed..In the lineup of musicals this season, of one conviction you can be certain: 'American Psycho' slays. "
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E
May 4th, 2016

"Goold’s direction makes the production self-aware and satirical, continually poking fun at itself. Sheik’s electro-pop score is so catchy, I’m not-so-patiently waiting for the Broadway cast recording. It is truly a production that has to be experienced live; the new 'Sweeney Todd' for millennials...If you're like us, and eat this type of theater up, it is a sight to behold."
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April 25th, 2016

"The unpredictable careen and stark tonal shifts make for a spin on Ellis’ 25-five-year-old source material/novel that is, well, psychotic. In the absolute best way possible—a real cackling Grand Guignol possessing an unhinged wacky streak that is both hilarious and disquieting...The chic barbarism foundation has been laid, and all that is left is for Goold, Aguirre-Sacasa, Sheik, and a ridiculously hot/on-point cast to revel in it. And the the whole crew does so with panache."
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December 13th, 2013
For a previous production

"'American Psycho' ends with an audacious romantic twist not in the original book - albeit romance tempered with heavy irony... Did they perhaps intend some kind of topical commentary on the current climate of Wall Street villainy? If so, then it's disappointingly opaque. All the same, there is much to savor in this sense-swamping, talent-rich adaptation. Yesterday's controversial cult novel becomes today's all-singing, all-dancing crowd-pleaser."
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December 12th, 2013
For a previous production

"Since soullessness is the essence of Patrick Bateman, you could argue that an all-style-and-no-substance musical version might possibly be appropriate. And helmer Rupert Goold and his design team certainly capture the high-veneer ’80s style that Bateman so worships. But beneath the highly polished surface there’s little drama or, crucially, danger. In a serial-killer thriller, that’s not just a problem, it’s an indictment."
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December 16th, 2013
For a previous production

"Goold's musical skates over the surface of what it is that makes a psychopath with its state of the art imagery and with music that doesn't lift this musical onto any kind of emotional plane except contempt...but maybe that is exactly what Rupert Goold wants us to feel?"
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December 15th, 2013
For a previous production

"This production of 'American Psycho' is open to the same criticisms which met Ellis’ original novel; 'it’s vapid', 'it’s stylised', 'it’s distant'. But this musical version is above that, and though we may want to feel and see a bit more, it is imperative that we can digest and comprehend what’s going on. Bateman’s narration both here and in the novel never lets us lose sight of where we are, and importantly explains things in such a way that the ramifications are clear."
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December 13th, 2013
For a previous production

"It works superbly thanks to Rupert Goold's stylish production, Duncan Sheik's music and lyrics and Matt Smith's beautifully defined performance as the deluded hero... Maybe the sleek staging undercuts some of the blackness of the original book. But the compensation lies in the heightening of the satire in a world in which 'everyone has a beautiful body' and in which people are identified by fashion, fads and gizmos."
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December 13th, 2013
For a previous production

"'American Psycho' is another ground-breaker, both the bold London theatre that is premiering it and for musicals themselves... Goold's vivacious production is equally riveting to watch throughout, providing constantly visual engagement. Smith is also surrounded by a stunning ensemble company."
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December 15th, 2013
For a previous production

"'American Psycho' comes with great credentials... Sadly, something went wrong with the heady mix and the result is likely to have as many naysayers as fans...For most of the 2¾-hour running time, spoilt rich kids talk about their fantastic lives and how they are going to fritter away untold wealth...Sheik's songs never quite achieve the heights of 'Spring Awakening,' not helped by Smith's gravelly voice, which cannot compete with the tunefulness of the two female leads."
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December 13th, 2013
For a previous production

"‘American Psycho’ is enormous fun. Sheik’s songs vary in hummability, but they’re generally hilarious, characters with no soul singing trashy, narcissistic pop songs about their empty inner lives...Goold, Sheik and Aguirre-Sacasa have retooled ‘American Psycho’ as a comedy for our time...Perhaps the biggest weakness of ‘Psycho’ is that it shows its entire hand within the first half hour...But what a deliciously mad rollercoaster this is."
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December 13th, 2013
For a previous production

"Bret Easton Ellis's 1991 novel seems an improbable subject for a tuner. But this witty, almost terminally knowing show tackles that difficulty with deadpan cheek...Though it calls itself 'a musical thriller', the show is short on visceral tension...At the interval, I was very undecided. But the all-singing-and-dancing company perform the piece with terrific attack and the second half manages to take you into Patrick's panicking emptiness without a hint of sentimentality or sanitisation."
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December 13th, 2013
For a previous production

"The violence of the novel needs to be reduced and stylised, reducing the tension between the strands of consumption and destruction. Nor can Roberto Aguirre-Sacasa’s script finesse the crucial ambiguity as to whether or not the murders are all in Bateman’s mind... Rupert Goold’s first production as artistic director of the Almeida is very Rupert Goold: natty visuals and stylish performances, but here has no core to breathe life into the package."
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December 13th, 2013
For a previous production

"The irony here is that a musical staring directly into the abyss should emerge as murderously entertaining. And affecting, too. I had feared in advance that the show might devolve into a blank celebration of late-Eighties blankness as per the book but not at all. By turns devastating and quick-witted, scintillating yet unexpectedly moving, the piece raises all sorts of hopes for Goold's embyronic Almeida tenure."
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T
December 13th, 2013
For a previous production

"Rupert Goold’s dazzling production proves to be a darkly funny, outrageously entertaining evening that boasts a star turn from Matt Smith that proves that he can be as alien as a well-groomed American serial killer as he is as a Time Lord."
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December 13th, 2013
For a previous production

"'American Psycho' is a brilliant, innovative musical comedy about a murderous banker on the rampage in New York. Helmed by Rupert Goold, this is a show just cracking with energy. Yet at its heart is an elusive performance by its star attraction, Matt Smith."
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December 13th, 2013
For a previous production

"Goold is the current king of high concept productions, and as a piece of stagecraft, there is no doubt that the show is a success. The score is often excellent, too...But this show about cold, superficial people strikes me as being cold and superficial itself. I was also disappointed by Matt Smith’s psycho..If I were you I’d give this modish show a miss."
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B
December 13th, 2013
For a previous production

"Though it can be underplayed, forgiven even, it cannot be ignored: the man cannot sing. This is all the more noticeable due to the note-perfect performances of the rest of the outstanding cast, particularly Susannah Fielding and Katie Brayben as his girlfriend and lover, respectively. But it’s a triumph. Of stagecraft, of songcraft, of acting, of directing. 'American Psycho' is a bloody good show."
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December 13th, 2013
For a previous production

"The work itself is as boring as its lists of brand names to the extent that it’s a relief when the killing starts, and the risibly indulgent ending – a bolt-on twist that makes little sense – betrays the inadequacy of the writing. The production is as good as it could be but do we really have to indulge Ellis further by giving this shallow work renewed life?"
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December 15th, 2013
For a previous production

"The strange irony about 'American Psycho: A New Musical Thriller' – contradictory though it may sound – is that, despite the sheer spectacle of it, the show nonetheless feels somewhat unfulfilling by the end... It is almost as if all the pomp – the expense poured into it, the revolving set, and the constant costume changes – can only thinly veil what feels like a lack of urgency and heart from the production as a whole."
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December 13th, 2013
For a previous production

"This is what the show is great at – turning a very visual book to a slick choreographed representation of 1980s excess told through the eyes of mass murderer in New York...Many of the themes from 20 years ago are still relevant today...Set to a soundtrack of classic 80s music but with some excellent original new songs, it sounds and looks beautiful. There is humour, too...The choreography is terrific."
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December 15th, 2013
For a previous production

"Bleakly funny and superbly staged, 'American Psycho' has the same dynamism and visual inventiveness that Goold brought to 'Enron.' Eighties cheesiness abounds: moneyed types obsessing over labels (one slick number is just women intoning brand names) eating pretentious food while espousing trendy liberal values...Some might find it vacuous and empty, but that is the point."
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December 13th, 2013
For a previous production

"The assault on banality may offer an excuse to forgive some occasionally clunky sounding lyrics, in an otherwise satisfying whole from composer and lyricist Duncan Sheik...This production always seems to be striving for: hilarity with a sharp, grotesque satirical edge...The staging is impressive too – plenty of dance set pieces have a real oomph and dazzle. It is a thrilling ride – but also one that makes you reflect."
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M
December 13th, 2013
For a previous production

"Questions that spring to mind while anticipating 'American Psycho The Musical': a) why are they doing this? and b) can ex-Time Lord Matt Smith actually sing? The answer to the latter is, not with any great confidence, although toneless and colourless weirdly work for a psychopath...But as for the ‘why’, I still don’t know. Rupert Goold’s production is wickedly slick but never gives us a real sense of danger."
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December 13th, 2013
For a previous production

"Although 'American Psycho' is certainly bloody, where it needs to feel dangerous it sometimes seems a little too slick. Yet much of it is brilliant, and I would be surprised if this stylish shocker doesn’t swiftly find its way into the West End."
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