We take a look at what is being said about this revival of the musical adaptation of Bret Easton Ellis’ novel.
Broadway World: **** “Goold’s direction is sophisticated; he accentuates the aesthetic materialism of the story, establishing this solid sense of unease from the very start. He gives Bateman a rockstar entrance, introducing the perfect anti-hero. Es Devlin’s design couldn’t be more minimal. A large thrust stage made of screens is the main event, while a brick arch blends it to the natural architecture of the Almeida, giving it a gritty and underground look.”
The Guardian: **** “Alongside the original songs there are excellently performed blasts from the past: The Human League’s Don’t You Want Me brings an aggressively tinny sound. Phil Collins’ In The Air Tonight contains menace and melodrama, with some superb singing from a zombie-style ensemble who dance, writhe and bounce in aerobics gear. They sometimes appear robotic, other times plastic, never quite human, with gloriously arch choreography by Lynne Page.”
All That Dazzles: ***** “American Psycho is like nothing I have ever seen before, not just in the Almeida but in any theatre. There is a uniqueness to this production stylistically that makes it very special. It’s certainly not for everyone, and certain aspects may prove a bit too much.”
WhatsOnStage: **** “It’s not a perfect show, and its true impact is perhaps left that bit too late in the final scenes. That said, it’s still a hypnotic, bloody good time – one that perhaps says more about the macabre dimensions of modern masculinity than anything else on a UK stage right now.”
The Stage: *** “Rupert Goold’s swansong is a wildly entertaining musical take on the notorious novel, but lacks killer instinct.”
London Theatre 1: *** “The cast work hard, and the balance between the music and the cast’s vocals is perfectly fine. It’s also not a show that’s ear-splittingly loud. The central character, who veers between ‘mergers and acquisitions’ and ‘murders and executions’, comes across as much of a victim of circumstances as those who find themselves with his trusty knife thrust into them. All things considered, this horror story wasn’t horrifying enough to be wowed by.”
London Theatre.co.uk: *** “Perhaps it would be an easier watch if there were fewer bad men like Patrick in the world? But though two-plus hours in the company of someone this outwardly entitled and inwardly empty leaves a bad taste, it’s sort of grippingly grotesque, and a second chance to catch a collector’s item in Goold’s canon as he continues in his ascent.”
West End Wilma: **** “this production is a slick, savage and surprisingly entertaining satire of capitalism, culminating in a beautiful bloodbath.”
Time Out: **** “American Psycho is hardly obtusely arty but it has a fearless to it that simply means it eschews most of the bells and whistles of the commercial musical. Arch, introspective, and also about a guy who sadistically murders homeless people, it’s as singular as anything Goold ever staged here, and a worthy bookend to the greatest London artistic directorship of recent times.”
London Theatre Reviews.co.uk: **** “American Psycho is a very stylish, well-acted night of theatre that nails the hollow feeling of the decade, but it works best when it stays focused on the psychological dread rather than those less functional moments.”
Everything Theatre: *** “In a way, the production feels too sleek for its own good. The minimalism and emptiness are thematic, but it lends the production an unfortunate evanescence. The satire lacks bite, and there aren’t any standout moments of terrifying horror. The impressive, if a little frantic, choreography can’t make up for the other-worldly score which struggles to impress. Still, the packed, notably young audience suggests the show’s cult appeal remains undiminished, and for devoted fans, the aesthetic thrill and cultural cachet may well outweigh its dramatic shortcomings.”
Theatre & Tonic: **** “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.”
North West End UK: ***** “American Psycho, Rupert Goold’s final show after thirteen years at the Almeida, is the ultimate full-circle moment, and what a show to start and finish his journey there. With so much buzz before its return, this musical certainly lived up to the hype, from its simple yet clever staging and lighting to its incredible cast and score. American Psycho is a great opener to what will likely be a spectacular season for the Almeida Theatre.”
The Reviews Hub: **** “American Psycho has been much revered in the years since 2013, and in 2026 still has something to say about the challenges of modern masculinity that remain unresolved.”
West End Best Friend: ***** “Striking a balance between violent drama, dark humour, and commentary on the state of a nation, American Psycho remains boldly unconventional. While the ending may feel somewhat unsatisfying, this revival ultimately stands as a production for the ages.”
Theatre Vibe: “the overall production is able to ride out the musical disappointments and deliver a show that’s exciting, energetic and compelling to watch.”
The show continues to play until the 14th March.