Bret Easton Ellis’s novel was a
succès de scandale on its
publication in 1991. Its tale of Patrick Bateman, Wall Street trader
and conspicuous consumer of all the finest brands by day and crazed
serial killer by night (or is he?), was not immediately recognised as
satire, particularly in respect of its perceived machismo and misogyny.
Two decades on, though, all its excesses are now mere cultural
background noise: torture-porn movies are mainstream; food-porn,
property-porn and shopping-porn fill TV schedules; trading-porn (like
porn-porn) has moved online, along with casual sexist bullying. It all
amounts to the cultural equivalent of “too big to fail”: these things
are seemingly too deeply embedded in contemporary culture for a
satirical indictment of them to draw blood.
Especially when so little blood is on show. The violence of the novel
needs to be reduced and stylised, reducing the tension between the
strands of consumption and destruction. Nor can Roberto
Aguirre-Sacasa’s script finesse the crucial ambiguity as to whether or
not the murders are all in Bateman’s mind; here, there is scarcely a
moment’s doubt that he is simply a raving fantasist, so that on this
front too there is nothing to indict.
What is left to lift the piece out of the ordinary? Well, did I mention
that it’s a musical? Duncan Sheik augments his own 15 numbers with half
a dozen ’80s standards (kicking off cheekily with “Everybody Wants To
Rule The World”). The score is serviceable period pastiche, as are the
arrangements, all blaring synths and tickety-tacking drum machines, but
the lyrics are bland and pedestrian, one more respect in which the
required sharpness is crucially absent. Matt Smith’s singing voice is
diffident, too, and he deliberately keeps his characterisation of
Bateman as blank as possible except when necessary to show some genuine
response; but absence is not where Smith’s strength lies, he is a much
more impressive performer when he is
there.
Rupert Goold’s first production as artistic director of the Almeida is
very Rupert Goold: natty visuals and stylish performances, the approach
which worked so well with
Enron
and
Chimerica, but here has
no core to breathe life into the package. Commercially the production
is critic-proof in any case: with a retiring Doctor Who taking the main
role mere weeks after that series’ 50th anniversary, they could really
do with a Tardis venue which is bigger on the inside. But in the
absence of so much that made the work edgy in the first place, nothing
remains other than a bloody but vacuous stream of yuppie Walter
Mittying. The most bleakly comic aspect of the whole affair may be the
amount of corporate involvement trumpeted in the programme.
Written for the Financial
Times.