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The actress looked thrilled to see Matt as they hugged following the press night of the West End production, adapted from Bret Easton Ellis's best-selling novel.

Billie gives Matt a hug as he enters the theatre bar The musical, which runs at London's Almeida Theatre until February 1, sees Matt play serial killer Patrick Bateman. Bateman is a Wall Street yuppie with a penchant for both designer clothing and brutal decapitation; whose sadistic tendencies become ever more uncontrollable as he acts out his narcissistic life in consumer-obsessed '80s New York.

Following the curtain call, Matt joined his co-stars, including Cassandra Compton who plays Bateman's assistant Jean, in the bar to toast the opening night.

Nice to see you to see you nice: The pair were clearly delighted to bump into each other Sweet: The pair recently appeared alongside each other in the Doctor Who 50th anniversary special Billie, who reprised her role as Rose Tyler in The Day Of The Doctor last month, wore a red coat as she turned up solo.

Presumably her husband Laurence Fox was at home on daddy duty to their two sons Eugene and Winston. Also in attendance was Lenny Henry and his girlfriend Lisa Makin. A job well done: Matt with the musical's director Rupert Goold Big night: Matt with his co-star Cassandra Compton, who plays Bateman's assistant Jean Although he wasn't happy with the film adaptation, Ellis was pleased about the stage production.

Music is a fundamental part of the book, and subsequent movie, which often soundtracks Bateman's slaughter of his friends and random victims, so the stage adaption should be in good hands with Duncan Sheik, the composer of award-winning rock musical Spring Awakening. Comedian Lenny Henry attended with his girlfriend Lisa Makin Meanwhile, Matt admitted his mother didn't want him to quit Doctor Who after four years as the time lord.

But when you gotta go, you gotta go. Anyone who takes a youngster to this show deserves a dawn raid from social services. High-cheeked Mr Smith, with his deep-set gaze and almost hypnotically bad singing voice, plays Patrick Bateman, Manhattan banker and narcissist nutter. And this has been put to music? The staging is typical Goold: When he sings, his mouth forms a mournful little doughnut and he stares at us as though sedated.

This is without doubt a theatrical event. Mr Smith has certainly made us see him in a different light. But having made this splash, he now needs to escape the limiting influence of tyrant Goold, whose shows — so narrow in age range and metropolitanism — are strait-jacketed by bleak lovelessness.

Quentin Letts, Daily Mail What a psycho: Matt as Patrick Bateman on stage Though it calls itself 'a musical thriller', the show is short on visceral tension. Patrick's sadistic spasms with axe and nail gun are stylised, choreographed turns that aren't going to land the Almeida with crippling laundry bills as the gore mostly virtual and drips down the digitalised designs.

The new songs suggest that numb conformist banality does not offer satire an extensive tonal palette. And Goold gets up to some familiar tricks — the yuppies whose bonces are swanky carrier bags inevitably recall the raptor heads in Enron.

At the interval, I was very undecided. But the all-singing-and-dancing company perform the piece with terrific attack and the second half manages to take you into Patrick's panicking emptiness without a hint of sentimentality or sanitisation. Paul Taylor, The Independent Curtain call: He is well supported by a cast including Cassandra Compton as his love-lorn secretary.

The production is as good as it could be but do we really have to indulge Ellis further by giving this shallow work renewed life? Whatever the reason, it robs the show of darkness and, for the most part, any galvanizing sense of horror. Aside from the early, swift stabbing of a vagrant in the street, the only physical violence we see in the first act is the climatic killing of his smooth-talking, loathed colleague Paul Owen nicely easeful Ben Aldridge.

That sets us up for a tauter, more disturbing second half … that fails to materialise. David Benedcit, Variety Inevitably the stand-out performer is the excellent Matt Smith who, with his square jaw and clean-cut aspect, perfectly embodies Bateman's preoccupation with appearances.

But he also has the capacity to suggest there is a strange emotional vacancy and spiritual hollowness within this solitary fantasist. Without enlisting our sympathy, he makes Bateman wholly believable. And he is very well supported by Susannah Fielding as his high-living girlfriend, Cassandra Compton as his quietly adoring secretary, Hugh Skinner as a geeky guy also enthralled by him and Simon Gregor as a cop who embodies what little conscience he has.

Maybe the sleek staging undercuts some of the blackness of the original book. But the compensation lies in the heightening of the satire in a world in which "everyone has a beautiful body" and in which people are identified by fashion, fads and gizmos.

But like the novel on which it is based, it is also glib, heartless and pretentious. Charles Spencer, The Telegraph.

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Billie piper having hardcore sex

The actress looked thrilled to see Matt as they hugged following the press night of the West End production, adapted from Bret Easton Ellis's best-selling novel. Billie gives Matt a hug as he enters the theatre bar The musical, which runs at London's Almeida Theatre until February 1, sees Matt play serial killer Patrick Bateman.

Bateman is a Wall Street yuppie with a penchant for both designer clothing and brutal decapitation; whose sadistic tendencies become ever more uncontrollable as he acts out his narcissistic life in consumer-obsessed '80s New York. Following the curtain call, Matt joined his co-stars, including Cassandra Compton who plays Bateman's assistant Jean, in the bar to toast the opening night.

Nice to see you to see you nice: The pair were clearly delighted to bump into each other Sweet: The pair recently appeared alongside each other in the Doctor Who 50th anniversary special Billie, who reprised her role as Rose Tyler in The Day Of The Doctor last month, wore a red coat as she turned up solo. Presumably her husband Laurence Fox was at home on daddy duty to their two sons Eugene and Winston.

Also in attendance was Lenny Henry and his girlfriend Lisa Makin. A job well done: Matt with the musical's director Rupert Goold Big night: Matt with his co-star Cassandra Compton, who plays Bateman's assistant Jean Although he wasn't happy with the film adaptation, Ellis was pleased about the stage production.

Music is a fundamental part of the book, and subsequent movie, which often soundtracks Bateman's slaughter of his friends and random victims, so the stage adaption should be in good hands with Duncan Sheik, the composer of award-winning rock musical Spring Awakening. Comedian Lenny Henry attended with his girlfriend Lisa Makin Meanwhile, Matt admitted his mother didn't want him to quit Doctor Who after four years as the time lord.

But when you gotta go, you gotta go. Anyone who takes a youngster to this show deserves a dawn raid from social services. High-cheeked Mr Smith, with his deep-set gaze and almost hypnotically bad singing voice, plays Patrick Bateman, Manhattan banker and narcissist nutter. And this has been put to music? The staging is typical Goold: When he sings, his mouth forms a mournful little doughnut and he stares at us as though sedated.

This is without doubt a theatrical event. Mr Smith has certainly made us see him in a different light. But having made this splash, he now needs to escape the limiting influence of tyrant Goold, whose shows — so narrow in age range and metropolitanism — are strait-jacketed by bleak lovelessness. Quentin Letts, Daily Mail What a psycho: Matt as Patrick Bateman on stage Though it calls itself 'a musical thriller', the show is short on visceral tension.

Patrick's sadistic spasms with axe and nail gun are stylised, choreographed turns that aren't going to land the Almeida with crippling laundry bills as the gore mostly virtual and drips down the digitalised designs.

The new songs suggest that numb conformist banality does not offer satire an extensive tonal palette. And Goold gets up to some familiar tricks — the yuppies whose bonces are swanky carrier bags inevitably recall the raptor heads in Enron. At the interval, I was very undecided. But the all-singing-and-dancing company perform the piece with terrific attack and the second half manages to take you into Patrick's panicking emptiness without a hint of sentimentality or sanitisation.

Paul Taylor, The Independent Curtain call: He is well supported by a cast including Cassandra Compton as his love-lorn secretary. The production is as good as it could be but do we really have to indulge Ellis further by giving this shallow work renewed life? Whatever the reason, it robs the show of darkness and, for the most part, any galvanizing sense of horror. Aside from the early, swift stabbing of a vagrant in the street, the only physical violence we see in the first act is the climatic killing of his smooth-talking, loathed colleague Paul Owen nicely easeful Ben Aldridge.

That sets us up for a tauter, more disturbing second half … that fails to materialise. David Benedcit, Variety Inevitably the stand-out performer is the excellent Matt Smith who, with his square jaw and clean-cut aspect, perfectly embodies Bateman's preoccupation with appearances. But he also has the capacity to suggest there is a strange emotional vacancy and spiritual hollowness within this solitary fantasist. Without enlisting our sympathy, he makes Bateman wholly believable. And he is very well supported by Susannah Fielding as his high-living girlfriend, Cassandra Compton as his quietly adoring secretary, Hugh Skinner as a geeky guy also enthralled by him and Simon Gregor as a cop who embodies what little conscience he has.

Maybe the sleek staging undercuts some of the blackness of the original book. But the compensation lies in the heightening of the satire in a world in which "everyone has a beautiful body" and in which people are identified by fashion, fads and gizmos.

But like the novel on which it is based, it is also glib, heartless and pretentious. Charles Spencer, The Telegraph.

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5 Comments

  1. The cost for 30 days - He is well supported by a cast including Cassandra Compton as his love-lorn secretary. Patrick's sadistic spasms with axe and nail gun are stylised, choreographed turns that aren't going to land the Almeida with crippling laundry bills as the gore mostly virtual and drips down the digitalised designs.

  2. The pair recently appeared alongside each other in the Doctor Who 50th anniversary special Billie, who reprised her role as Rose Tyler in The Day Of The Doctor last month, wore a red coat as she turned up solo. Matt with the musical's director Rupert Goold Big night:

  3. Billie gives Matt a hug as he enters the theatre bar The musical, which runs at London's Almeida Theatre until February 1, sees Matt play serial killer Patrick Bateman.

  4. That sets us up for a tauter, more disturbing second half … that fails to materialise. Comedian Lenny Henry attended with his girlfriend Lisa Makin Meanwhile, Matt admitted his mother didn't want him to quit Doctor Who after four years as the time lord. The production is as good as it could be but do we really have to indulge Ellis further by giving this shallow work renewed life?

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