Bat Out of Hell The Musical Tickets

Dominion Theatre 269 Tottenham Court Road London W1T 7AQ
Important Info
Bat Out Of Hell The Musical Child Policy

Due to strong language, partial nudity and scenes of a sexual nature, the show is not recommended for children under the age of 12. Parental guidance should be used for children aged between 12 and 16. For further information, please contact the Box Office. Children under the age of 5 unfortunately cannot be admitted.

Important Information

The show contains strobe lighting, haze and flame effects. The sound levels are very high throughout the show and there are scenes that include gunshots sound effects.
Performance Timings
Monday - -
Tuesday - 19:30
Wednesday 14:30 19:30
Thursday - 19:30
Friday - 19:30
Saturday 14:30 19:30
Sunday - -
Show Info

Book Bat Out of Hell The Musical Tickets

***** Metro, The Independent, Daily Express, The Mirror, Manchester Evening News, The Upcoming

**** The Mail on Sunday, The Daily Telegraph, Time Out, Financial Times, The Guardian, The Stage, The Radio Times, Daily Star, Toronto Sun, WhatsOnStage, Jonathan Baz

Tickets for the London return of Bat Out of Hell are on sale now.

Following a hugely successful run at the London Coliseum in the summer of 2017, Jim Steinman's epic rock and roll theatrical fantasy Bat Out of Hell The Musical made its hugely anticipated return to London at the Dominion Theatre in April 2018.

Probably the biggest rock musical in London since We Will Rock You ran at the Dominion Theatre, the musical is based on one of the most iconic and successful albums in history with an estimated total worldwide sales of over 43 million, Bat Out of Hell. It features hit songs recorded by rock legend Meat Loaf including "I’d Do Anything for Love", "Paradise by the Dashboard Light", "You Took the Words Right Out of My Mouth (Hot Summer Night)", "Dead Ringer For Love" and "Two Out of Three Ain’t Bad" and, of course, the title track “Bat Out of Hell”.

Steinman originally wrote much of the score as part of his new musical Neverland, a sci-fi update of Peter Pan, which had a workshop at the Kennedy Centre in 1977. No stranger to the world of musical theatre, Steinman has provided the score for the internationally successful hit musical Dance of the Vampires (Tanz der Vampire) which continues to play in Europe and was seen on Broadway in 2002, as well as the lyrics for Andrew Lloyd Webber's rock musical Whistle Down the Wind.

Bat Out of Hell The Musical is described as a high octane musical adventure about rebellious youth and passionate love, set against the backdrop of a post-cataclysmic city adrift from the mainland. Strat, the forever young leader of The Lost, has fallen for Raven, daughter of Falco, the tyrannical, ruler of Obsidian. Will their love be allowed to blossom?

The show originally ran in London at the Coliseum from 5th June to 22nd August 2017, and starred Andrew Polec as Strat and Christina Bennington as Raven. Polec went on to win The Stage Debut Award for Best West End Debut for his role, and the pair have returned for the show's latest revival in London.

With a book by Jim Steinman and Stuart Beattie and music and lyrics by Jim Steinman, Bat Out of Hell the Musical is directed by Jay Scheib and features choreography by Emma Portner, with musical arrangements and supervision by Michael Reed, set design by Jon Bausor and costume design by Meentje Nielsen. The production opened at the Manchester Opera House in 2017, and transferred to the London Coliseum in June.

Bat Out Of Hell Tickets are available now.

About Bat Out Of Hell The Musical

Join the eternally young Strat and his wild gang, The Lost, as they roam the streets of Obsidian, a post-apocalyptic Manhattan, ruled by the wicked and tyrannical Falco. When Strat first sets eyes on Falco's daughter, Raven, who has been locked away in the palace towers, he sets out to rescue her from her evil father's clutches in a full throttle tale of teenage love, youthful rebellion and living the rock and roll dream.

Bat Out Of Hell The Musical Child Policy 

Due to strong language, partial nudity and scenes of a sexual nature, the show is not recommended for children under the age of 12. Parental guidance should be used for children aged between 12 and 16. For further information, please contact the Box Office. Children under the age of 5 unfortunately cannot be admitted.

Important Information 

The show contains strobe lighting, haze and flame effects. The sound levels are very high throughout the show and there are scenes that include gunshots sound effects.

Important information

Booking Until
Sat, 5 January 2019

Bat Out of Hell The Musical Cast

By: Jim Steinman
Producer: David Sonenberg, Michael Cohl, Randy Lennox, and Tony Smith
Director: Jay Scheib
Songs by: Jim Steinman
Lighting: Patrick Woodroffe
Sound: Gareth Owen
Design: Jon Bausor
Choreography: Emma Portner
Costume: Meentje Nielsen

Cast List

Andrew Polec and Christina Bennington play the musical’s central roles, Strat and Raven.

Rob Fowler and Sharon Sexton portray Falco and Sloane. They are joined by Alex Thomas-Smith (Tink), Danielle Steers (Zahara), Wayne Robinson (Jagwire), Giovanni Spanó (Ledoux) and Patrick Sullivan (Blake).

At certain performances, Strat will be played by Simon Gordon or Jordon Gage.

The full cast for Bat Out of Hell includes: Kyle Anthony, Emily Benjamin, Christopher Cameron, Georgia Carling, Natalie Chua, Jonathan Cordin, Rob Copeland, Hannah Ducharme, Isaac Edwards, Collette Guitart, Eric Hallengren, Vicki Manser, Rhianne-Louise McCaulsky, Aston Newman Hannington, Eve Norris, Joseph Peacock, Kyle Roberts, Craig Ryder, Dawnita Smith, Courtney Stapleton, Julie Stark, Charlotte Anne Steen and Sam Toland.

Bat Out of Hell The Musical Critics & Reviews

The Guardian ****

Bat Out of Hell review – Meat Loaf musical thunders through the hits

Coliseum, London

Jim Steinman’s perky lyrics are often overpowered in this musical juggernaut, but his roaring choruses and fairytale plot are built for the ENO’s stage Several of the songs on Meat Loaf’s 43m-selling album Bat Out of Hell were left over from composer Jim Steinman’s abandoned attempt to write a futuristic rock musical version of Peter Pan. With their elaborate narratives and roaring choruses, the numbers always sounded as if they hoped to come home to the stage. Now, to mark the 40th anniversary of the album’s release, they have.

Controversy has attended Bat Out of Hell landing in London (after road-testing in Manchester) at the Coliseum, home of English National Opera. Most have assumed that this booking represents economic desperation about a building always threatening to go from domed to doomed, but it is also possible that the Coliseum was chosen as the only venue in which Steinman’s plot would not seem preposterous or his choruses too Wagnerian.

Fragments of Neverland, Steinman’s JM Barrie show, are apparent in the conceit of The Lost, a tribe of young people eternally frozen at the age of 18. A crucial character called Tink, who at one point hovers between life and death, also rings bells. But, when Strat, the leader of The Lost, falls in love with Raven, a rich girl whose parents hide her in a high tower, Steinman’s scenario borrows elements of fairytale and West Side Story.As the setting is a dystopian city ruled by a dictator – broken TV sets fizz under a graffitied lattice of charred concrete – the show also brings to mind We Will Rock You, the Queen musical that, along with Mamma Mia!, probably made a Meat Loaf equivalent inevitable, and Steinman matches Freddie Mercury and Abba in writing ear-lodging songs full of character and action. But because Steinman wrote for the stage before his recording career – and provided lyrics for Andrew Lloyd Webber’s 1996 musical Whistle Down the Wind – the show is more organically dramatic than most jukebox musicals.

Steinman has created two new, somewhat Lloyd Webbery songs to get around problems of plot exposition in a score that utilises tracks from the three Bat Out of Hell albums (sequels were released in 1993 and 2006), plus the standalone hit Dead Ringer for Love. The frequent involvement of motorbikes alludes to the cover art of the first Bat album and its sonic signature, in which a guitar imitates ignition.

Steinman’s speciality as a songwriter is to pick a phrase from everyday vernacular – Bat Out of Hell, You Took the Words Right Out of My Mouth – or, in one of the most bizarre cases of creative inspiration, automobile safety warnings (Objects in the Rearview Mirror May Appear Closer Than They Are). These found words are then pumped up into vast chronicles, lasting 10 minutes or more, of rewarded or thwarted love.
Tension sometimes arises from the fact that Steinman’s imagery often paints an American past – Paradise By the Dashboard Light records a time when virginities were mainly lost in cars – while the show is set far into the 21st century. This is pretty much solved, though, by framing the more nostalgic tracks as flashbacks or dream sequences.

As in the Abba and Queen shows, there’s fun in guessing how and where the plotline will find a place for the greatest hits. The title track, rather predictably, accompanies Strat’s attempt to spring Raven from her protected bedroom. But the lesser-known It’s All Coming Back to Me Now, sung by Meat Loaf as a duet with Marion Raven on Bat Out of Hell III, becomes theatrically an affecting quartet for two troubled couples: the war-crossed lovers and her parents.

Andrew Polec, a young American in his UK debut, commands the stage as a shock-haired, wild-eyed Strat, with Christina Bennington’s Raven giving more life than the writer has to the stereotype of a pampered daughter. Stalking each other round the stage, they memorably fight for vocal and physical dominance while duetting a song that is classic Steinman in both its title and bloated emotions: For Crying Out Loud.

Loudness is sometimes overdone in Jay Scheib’s production, resulting in some of the perky wordplay of Steinman’s lyrics being lost; perhaps ENO’s surtitle machine should be commandeered. With the jokes in the songs often overpowered, the biggest laugh comes when a Buick seems to crash into the orchestra pit. The choreography rarely gets beyond synchronised limb-swinging.

The chorus of Objects in the Rearview Mirror suggests that “if life is like a highway, then the soul is just a car.” To extend the metaphor, Bat Out of Hell the Musical often feels like being in the fast lane of the M1 with juggernauts thundering over your soul. The best musicals have a compelling storyline, thrilling stage pictures and astonishing sounds. This show completely lacks the first, but what swagger and songs it has. As Steinman put it himself, Two Out of Three Ain’t Bad.

By : Mark Lawson

Ref Link : The Guardian
Venue Info

Dominion Theatre

269 Tottenham Court Road London W1T 7AQ


Dominion Theatre

Address: 268-269 Tottenham Court Road, London, W1T 7AQ
Capacity: 2069

The Dominion Theatre opened its doors on the 3rd October 1929. Designed by W. & T. R. Milburn, the theatre is located on the site of the former Horse Shoe Brewery. The Art Deco architecture and interior of the foyer is a fine example of design from the 1930s, with the period light fitting and plasterwork still present today. Its location is very well thought of, sitting at the point where Tottenham Court Road, Charing Cross Road and Oxford Street meet. It should prove even more desirable with the arrival of Crossrail in 2018.

With the theatre opening so close to the Wall Street Crash, its opening years were not easy going - the first couple of productions closed after less than 150 performances each. Even screening the premiere of Charlie Chaplin’s film, City Lights (with Chaplin himself attending), was not enough to turn the theatre’s luck around. The theatre was bought by The Gaumont-British Picture Corporation Ltd in 1933 and was adapted into a fully-fledged cinema. From the 1950s, the Dominion played host to healthy runs of several movies, including South Pacific (1958), Cleopatra (1963), and The Sound of Music (1965), whilst interspersed with live performances, most famously the Judy Garland Show in the winter of 1957.

It wasn’t until the 1980s that the theatre truly returned to being a live performance house – many famous faces played in concert at the venue, including Dolly Parton, Duran Duran, Bon Jovi, David Bowie and U2. The musical Time opened in 1986 and ran for two years, but not before a hefty renovation of the interior had taken place to accommodate the productions physical demands and special effects.

Facing demolition, with the intention of converting the site into a car park, the theatre was saved in 1991 after an aggressive campaign, and has played host to musicals almost exclusively since – shows from Grease, to the record-breaking run of We Will Rock You, The Bodyguard, and was also home to the Broadway-transfer of An American in Paris. As of 2018, the theatre hosts the transfer of Jim Steinman musical Bat Out of Hell after a successful run at the London Coliseum the previous summer.

Fun Fact – the Dominion Theatre is said to be haunted! Some patrons have heard the voice of a child giggling, and some have spotted the ghost of a brewery worker, perhaps belonging to one of the victims of the London Beer Flood of 1814.


The auditorium has two levels – the Stalls and Circle. It is a very large space, which offers excellent views of the stage.

In the Stalls, the rake of the seating is very good, offering excellent views from most seats and the legroom is excellent too. Just be advised that the last rows do feel a long way from the stage. And the overhang of the Circle does obstruct the view of the top of the stage from Row T onwards.

In the Circle, the seats are strongly raked (particularly from Row L onwards) which offers a great view, but makes the back rows feel very distant from the stage.

Facilities At Dominion Theatre 

Seat plan: Dominion Theatre Seat Plan
Facilities: Air conditioned
Disabled toilets
Infrared hearing loop
Wheelchair accessible

Access description:
Level access into the foyer. Box Office on your left. 10 steps down to the stalls. 20 steps up to the circle. Staircases have highlights and handrails. Wheelchair lift to the stalls. Foyer is open all day, circle 45min and stalls 30min prior to performances.

Sound Amplification: Induction loop system with approx. 24 headsets - ask a member of staff upon arrival at the theatre. Guide Dogs: Guide dogs are allowed into the auditorium. Staff are also willing to dog sit if you prefer.

Disabled Access: Level access to the foyer. Platform lift down 10 steps - ask the duty manager to operate it. 3 spaces for wheelchair users at XX50, YY50, ZZ50 (the last 2 on a slight slope). Transfer seating to any aisle seat. People with motorised wheelchairs or wheelchairs (maximum 3) can go in Box B - the entrance is to the side of the theatre on Bainbridge Street. Slightly restricted view of the stage from the box. Wheelchair users must bring a non-disabled companion (Box B only).

Toilets: Men’s and women’s off Stalls and Circle

Disabled Toilets: Adapted toilet towards front left of Stalls and one adjacent to Box B

Nearest tube: Tottenham Court Road
Tube lines: Central, Northern
Location: West End
Railway station: Euston
Bus numbers: (Tottenham Ct Rd Station) 7, 10, 14, 24, 29, 73, 134, 242; (New Oxford St) 1, 8, 25, 55, 98, 176, 390
Night bus numbers: (Tottenham Ct Rd Station) 7, 10, 14, 24, 134, 242, N7, N29, N35, N68, N73, N253, N279; (New Oxford St) 25, 176, 390, N1, N8, N41, N55, N98, N171, N207
Car park: YMCA Great Russell Street (2mins), Holborn Selkirk House Museum Street (5mins)
Within congestion zone?: Yes
Directions from tube: The theatre can be seen from the station, on the corner of the crossroads between Tottenham Court Road and Oxford Street.


Bat Out of Hell The Musical Photo Gallery