By John Lyle Belden

Part of the genius of Dakota Jones is that through Cryptid Entertainment he and his accomplices do masterful work in the space where comedy, horror, schlock, and camp intersect. They strike again in collaboration with Stagequest Theatrical Services – directed by Ty Stover – with an incredible production of “Bat Boy: The Musical.” Production manager Jones did, and does, a lot to bring this to the IF Theatre stage.

Originally, Bat Boy was a half-human creature brought to public attention in the fantastical tabloid newspaper Weekly World News in 1992, appearing in reports of bizarre happenings for years afterward. He became part of the theatre world in 1997 with a musical written by Brian Flemming and Keythe Farley, music and lyrics by Laurence O’Keefe. The show has played Off-Broadway, on London’s West End, and made its local debut at the Phoenix Theare in the early 2000s.

Now, the home of IndyFringe is transformed into a struggling 1990s West Virginia mountain town. In a nearby cavern, the three Taylor kids are smoking drugs harmlessly exploring when they encounter the fearful, feral Title Character! They freak out. It freaks out. The sister is bitten. It’s chaos. Cue the singing.

Fortunately, Sheriff Reynolds (Benjamin Elliot) gets involved and brings the Bat Boy (Parker Taylor) to local veterinarian Dr. Thomas Parker (Noah Winston) and his family, wife Meredith (Paige Scott) and daughter Shelley (Alicia Barnes). Rather than euthanize the creature, they keep it/him, which Mrs. Parker names Edgar and teaches to speak and to act civilized.

Meanwhile, the residents of Hope Falls, W.Va., are upset that the Bat Boy has not been destroyed, claiming it’s the cause of a mysterious plague that has been killing their cattle. Worse, having this apparent abomination in their midst wouldn’t be right with the Rev. Hightower’s big Tent Revival coming to town.

It should be noted that while this musical gets really silly, it is definitely not for young audiences. Consider it a “hard R” – especially with what happens in the woods in Act 2. But if you are into what Cryptid puts out, you’ll find this a hilarious, very entertaining and bizarrely inspiring production.

Brilliant casting is a major factor in this sure-fire hit. We have noticed that Parker Taylor has been one of the best young actors in Indianapolis. His willingness to commit to unconventional characters delivers a convincingly heroic lead. Scott nimbly takes on the weirdness as she so often does. Winston and Barnes each add a touch of drama to the absurdity.

All other actors take on multiple roles. Dave Pelsue and Shelbi Berry Kamohara especially show incredible range. Pelsue’s parts include Mama Taylor and the high-spirited Rev. Hightower. Kamohara’s turns include an old man, the bully Rick Taylor, and an oversexed Nymph. Gender-fluid casting and costuming also keep things interesting with Jonathan Young, Nina Stilabower, Bobby Haley, Ashley Bennett, and Jed Ottersen.  

Stover ensures the necessary chaos comes off with professional polish. Dakota Lumley provides clever set design, as well as creating Bat Boy’s distinctive look. (Parker noted that his fangs were carefully crafted to allow him to sing.) Vocal direction is by Jill Stewart. Costumes and technical direction are by Marina Eisenbraun.

If you, too, want to “love your Bat Boy,” act fast as – to no one’s surprise – tickets are selling very quickly, with opening weekend sold out. The show runs through March 8 at the IF, 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org.