The following is an interview with Pat Towne regarding the recent launch of cult-favorite horror musical, Bat Boy: The Musical, in partnership with the Open Fist Theatre Company. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Towne about his creative process in staging a new production of the show and more!
Barbra Dillon, Fanbase Press Editor-in-Chief: As the director, what originally enticed you to join the production?
Pat Towne: My producer and assistant director Amanda Weier enticed me to direct the production. I had always known about Bat Boy but had never seen it. When Amanda brought it to me and we talked about the themes of the play, it became more attractive to me because it seemed perfect for the times we’re in.
BD: What can you tell us about your shared creative process in working alongside music director Sean Paxton and choreographer Jennifer Maples to bring the production to the stage for today’s audiences?
PT: I talked a lot about the size and scope of the piece being more in the operatic vein than musical comedy. Meaning size and power were what were important to me in bringing the show to life. A fierceness if you will. Then I pretty much left it to them. For example I think I said to Sean, “make it sound great.” Something like that. And he did. And Jennifer and I had worked together on Joe’s Garage so she understood my general theatrical aesthetic. She’d say, “What going on in this scene?” And I’d tell her a couple of sentences and them she’d say, “Okay, cool,” and then go off and create some cool looking dance. I’d tweak here and there, but not much. I like to let my team be as fully creative as possible.
BD: Amidst the many challenges facing our community this year, Fanbase Press is focusing on the idea of “Building Your Community” to navigate a collective path forward. How do you feel that Bat Boy’s celebration of those outside the norm might help audiences to find a sense of community or belonging?
PT: I honestly have no idea how to answer this. I think theatre companies create their own community no matter the show. I feel like to some degree anyone involved in the arts are ‘outsiders’ because creative expression can be a very foreign concept for those who don’t practice it. In my experience theatre companies have always been a place where the ‘outsiders’ can have a voice. Can Bat Boy ‘help’ an audience find a sense of community? I really don’t know. But the story is a great tale about what happens when the ‘outsider’ ISN’T embraced by the community. Maybe that will help someone, but I really don’t know.
BD: What makes Open Fist Theatre Company the perfect home for this iteration of Bat Boy?
PT: It’s not the perfect place for it. But Open Fist’s commitment to theatre is what made it possible to happen.
BD: Are there any other projects that you would like to highlight for our readers?
PT: I’m performing in The Remarkable Mr. Holmes at the Laguna Playhouse.
BD: Lastly, what would you like to tell readers who want to learn more about and purchase tickets for Bat Boy: The Musical?
PT: Openfist.org
*Cover photo by John Dlugolecki
