Sitzprobe (German for ‘seated rehearsal’): A rehearsal during which cast and band meet for the first time to sing and play through musical numbers, focusing on integrating both.
On a cold night in late December, a small group of guests gathered in the shadow of a Christmas tree comprised of hundreds of verdant ballet shoes and decorated with red chiffon bows and twinkling fairy lights, in the Dorfman Foyer of English National Ballet, in London’s docklands.
As the specially invited audience waited, musical director Iestyn Griffiths, his seven-strong band, and the 19-strong cast and creative team prepared to do something almost unheard of, open their Sitzprobe to an audience of members of the public and media. The nerve-wracking countdown towards 7pm, when the bank of empty seats facing the band would fill and the performance begin, has started. It would also be a performance streamed live around the world. No pressure, then, especially as those in attendance had been encouraged to film short clips of the action, leaving musicians and cast absolutely nowhere to hide.
Some of the cast preparing for the new tour need no introduction having starred in previous productions of the smash hit rock opera; Glenn Adamson returns to lead the company and reprise his acclaimed portrayal of Strat along with Sharon Sexton who reprises her role as Sloane and Rob Fowler, although the latter will not be speaking this evening let alone singing having been placed on full “vocal silence”. Instead, as Fowler watches from the back of the room, the role of Falco will be played by understudy Joshua Dever, singing the role in front of an audience for the very first time. Joining them as Strat’s love interest, Raven, is Katie Tonkinson.
The running order of the evening, just over an hour of music, features 10 numbers from the show, kicking off with Out Of The Frying Pan (And Into The Fire), a warm up perhaps before it’s straight into the big one, the title track, Bat Out Of Hell. That’s followed by Heaven Can Wait, Objects In The Rearview Mirror May Appear Closer Than They Are, For Crying Out Loud, What Part Of My Body Hurts The Most?, Dead Ringer For Love, Rock ‘N’ Roll Dreams Come Through, It’s All Coming Back To Me Know and closing with a powerhouse rendition of I’d Do Anything for Love (But I Won’t Do That) from the entire company.
For those unfamiliar with the show, it’s an age-old story of forbidden love and a ‘loose retelling of Peter Pan’. Set in a post-apocalyptic Manhattan, now renamed Obsidian, Bat Out Of Hell is the story of Strat, the forever young leader of underground gang, The Lost, who has fallen in love with Raven, daughter of Falco, the tyrannical ruler of Obsidian, a dark, dystopian world very different from the rehearsal studio we’re in right now – every music and mic stand is dressed with fairy lights, sparkly white for the musicians, ice blue for the cast. It’s not normally like this assures director Jay Scheib in a brief opening welcome that highlights his passion for and emotional investment in the piece, which premiered at Manchester’s Opera house in 2017.
Eight years on from that opening night, many of the original creatives are still involved in the production including musical supervisor and arranger Michael Reed, who is also in attendance and talks fondly of his old friend, the late Jim Steinman, without whose music there would be no show.
And so as guests settle in their seats, a glass of Prosecco in one hand with their phone ready for filming in the other, Griffiths strikes up the band and the music begins, cast members stepping forward to the mics when it is their turn to sing – if Adamson and Tonkinson carry much of the evening, everyone has their part to play with some glorious harmonies as they gather around the additional mics behind the principals. It’s a powerful display that not only rocks the rehearsal room but allows the cast to enjoy the songs without the constraints of a full production. Their excitement and perhaps, not little relief as the evening goes precisely to plan, is palpable. This is the moment when those on and off stage know there is something very special just waiting around the corner. It’s time to get out on the road.
An obviously delighted Scheib takes to the mic once more after the performance. “That made me cry, what an extraordinary moment,” he says, of the past hour, before explaining, “The next step in the process will find in the theatre adding lights and the rest of the spectacle. To do that, and for really enabling our addiction to Bat Out Of Hell and the music of Jim Steinman, we would like to thank our producers, Michael Cohl, Tony Smith and David Sonenberg, and our dear executive producer Julian Stoneman for making this happen.”
Scheib finishes with, “And so concludes our rehearsal period and we are so thrilled to have shared it with you all,” before giving the last word to an ebullient Reed, who adds, “I am just blown away by the amount of talent here. What a cast, they were unbelievable tonight. And to Iestyn and the band, you’re amazing, just superb. I’d also like to thank my friend, the genius, the legend who lives on, without whom none of this would have happened, Jim Steinman.”
The round of applause that follows from audience, cast and band alike speaks a thousand words. As the evening closes with cast, creatives and audience chatting, taking selfies and signing copies of the show’s big glossy posters, it is easy to see why after nearly a decade, Bat Out Of Hell has become the rock musical of our time.
Tickets for Bat Out Of Hell The Musical opens at Edinburgh Playhouse on 6 January. Tickets here.
Bat Out Of Hell The Musical Tour Dates, Venues and Tickets here.
