American Psycho at Almeida Theatre Review
Photo by Marc Brenner
Written by Emily K-N for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
This production includes depictions of violence, including towards women; alcohol and drug use; homophobic, ableist, misogynistic and strong language; sexual content; and references to suicide.
This production includes bright flashing lights throughout, as well as strobe, haze, latex, blood, guns/gunshots and loud, sudden sounds, and the smoking of e-cigarettes.
American Psycho was first reimagined as a musical at the Almeida in 2013. It was Artistic Director Rupert Goold’s directorial debut and was met with critical acclaim. Fast forward to 2026, and this revival marks Goold’s final directing venture at the Almeida for the foreseeable future, as he steps down as the venue’s Artistic Director. And talk about going out on a high.
Based on the 1991 novel by Bret Easton Ellis, American Psycho follows Patrick Bateman, a young investment banker working on Wall Street. Seemingly normal, we see him go about his high-flying life, and meet his girlfriend, Evelyn, his mother, and his colleagues, including his doting secretary, Jean. Bateman’s world is one of consumerism, materialism, and superficiality, as presented from the outset through the musical numbers and various stylistic choices. The use of occasional pops of red in props and set pieces, such as Bateman’s headphones and blood-red wine during a birthday dinner party early in the production, led to the revelation that he is an apparent serial killer.
Arty Froushan has the audience in the palm of his hand as Patrick Bateman, equal parts chilling as he is darkly funny. He’s joined by a talented array of performers in supporting roles. Whilst it’s hard to single anyone out, Anastasia Martin, as Jean, brings a welcome sense of humanity and genuine emotion to the production, aided by her evocative singing voice.
Original songs by Duncan Sheik are performed throughout the production and complemented by iconic 80s electropop songs woven in. The upbeat numbers are performed by an energetic ensemble, with excellent contemporary choreography from Lynne Page. Downbeat songs are well sung; a highlight being a beautiful arrangement of Phil Collins’ In The Air Tonight.
Es Devlin’s simple set is illuminated with striking lighting elements (Jon Clark), including the use of blood red and fluorescent white. The fact that the majority of the costumes (Katrina Lindsay) are muted tones and blacks makes the lighting elements even more impactful. Dan Moses Schreier’s sound design adds to the scenes where all creative elements come together, particularly during an intense killing spree at the start of the Act 2.
The message of the story is open to interpretation, particularly given the ambiguous ending and questions around the extent of what has actually taken place. However, there is a clear critique of the shallow, cutthroat nature of capitalism and a satirical portrayal of toxic masculinity. With absorbing performances, slick choreography, and clever design elements, it’s well worth getting hold of a ticket if you can.
Plays until 14 March
★★★★
