This is another piece of off-Broadway weirdness, and probably the only musical ever to be based on a famous tabloid story. Interestingly, it showed up just shortly before the aforementioned mainstreaming of this kind of thing with Hedwig and the Angry Inch and Urinetown. This particular example is influenced largely by Little Shop of Horrors and The Rocky Horror Show, but veers far further into left field than either of those shows. The closest model that made it into the mainstream is Repo: the Genetic Opera; like that show, Bat Boy blends elements of camp (in its basic subject matter, its staging and several of its lyrics) and tragedy (in its gory finale, with three of the four leads killed on stage in succession). This show received rave reviews from the New York critics and won several awards, but it’s not really quite as successful as that makes it sound. The score is admittedly mostly wonderful. The opening number, “Hold Me Bat Boy”, has a terrific rock melody (although it’s never a good sign when your opening number tells the audience “He has suffered, and now it’s your turn”), and from there we have the witty old-style showtune “Show You a Thing or Two”, the gorgeous Classical-influenced ballads “A Home for You” and “Inside Your Heart”, the earworm “Three Bedroom House”, a marvelous first-act finale, “Comfort and Joy”, and the hilarious yet beautiful “Let Me Walk Among You”. But the story is full of rather unpleasant details, most notably the revelation that the newly-consummated romantic couple are in fact brother and sister, and the score also features some real clinkers, like the embarrassing attempt at rap “Whatcha Wanna Do?”, the hillbilly country song “Another Dead Cow”, and the animal orgy number (God, I wish I were kidding), “Children, Children”. As I said, this was about the time this kind of show began to move into the mainstream eye, but despite the quality of the score, I’m not especially surprised this one wasn’t chosen for that fate.