American Psycho NYC Reviews and Tickets
Show-Score Member Reviews (827)
See it if you like to see something different. Very entertaining and original. Loved the acting and the story.
Don't see it if murder , sex on stage and bad language bothers you.
See it if you like the novel its based on, you like dark humor, you like sexy hardbodies, you like electronic 80's music, and to enjoy a stunning set.
Don't see it if you expect to see a TON of blood, you don't like cheeky humor, you are turned off by sex and violence, or you want to be moved emotionally.
See it if you like a show that is very funny and somewhat raunchy
Don't see it if you are prudish
See it if You love seeing new, edgy takes in musicals, or you love a brilliantly designed set
Don't see it if you get squeamish at gore
See it if you don't want to miss an innovative musical with a darker subject matter (not talking about the violence but about the themes of the show)
Don't see it if this one might feel to close to home for some audiences (like the guy that bribed the security guard with $100 to skip the line!)
See it if you like slick, sexy, stylish musicals with a dark twist
Don't see it if you love only traditional musicals
See it if you enjoy innovative productions and a fantastic leading man!
Don't see it if the subject of murder is not for you
See it if Fast, adult subjects, 80s nostalgia. Benjamin Walker was amazing as was the rest of the cast. Great sets and lighting. Witty zingers.
Don't see it if Don't take kids. Bloody and very sexual. Techno pop 80s music used throughout. And flashing bright lights.
Critic Reviews (77)
"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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“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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"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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“‘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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"'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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“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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“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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“"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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