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There’s nobody quite like Steve Steinman. For over two decades, he has travelled the UK (and beyond), acting as a sort of advocate for rock music. Whether he is touring one of his numerous rock tribute shows (either specific to Meatloaf or more general content), or releasing his own original rock albums that regularly top the Rock Charts on Amazon and iTunes, he’s a busy man who has built up an enviable fan base. In addition, all of his talents come together for his magnum opus: The Vampires Rock trilogy – a unique set of three original rock musicals featuring the same characters and an on-going story that originated with Vampires Rock, continued with Ghost Train, and concludes (or perhaps continues further?) with this new chapter, Eternal Love.

Vampire Rock: Eternal Love sees Steinman’s Baron Von Rockula return to his castle and despite mourning for his lost love, plans to reopen it as a nightclub with the help of his moronic manservant Bosley (John Evans). Enter Xena Rock-Heart (Claire Zamore), an innocent girl looking for work who bewitches the Baron and who could perhaps be the reincarnation of his lover, much to the dismay of Medusa (Tanyth Roberts), a vampire who has always loved him. Throw in the presence of a mysterious vampire slayer and the simple story is set up as a framework for Steinman’s rocking songs.

This show features songs from Steinman’s last two albums Take a Leap of Faith and Heaven’s Gate, and it’s a really interesting way to market and present them: as a rock concert hidden inside a musical. The concept works really well and in an age when most new musicals are either collections of existing songs stuck together with a narrative, or else based on existing well-established properties, it is impressive that Steinman presents a 100% original musical that showcases his obvious talents as both a writer and performer.

Your enjoyment of Vampire Rock: Eternal Love will largely depend on your musical tastes, with most of the songs being very much in the Meatloaf vein (no pun intended). However, everything is presented with such showmanship and enthusiasm that it would be hard not to get swept up in all of the fun. The impressive set features an upper level for the band (The Lost Boys) as well as an ornate gothic doorway leading to a staircase to the stage level. This is flanked by two LED screens that constantly display some excellent animations and video footage that enhances the action on stage. Meanwhile Luke Thomson’s atmospheric lighting, as well a liberal use of belching fire from out of the stage, further adds to the concert vibe.

While the songs are all very good, Steinman’s script is unashamedly cheesy. Filled with pantomime-style jokes, fourth-wall breaking and self-aware asides, it’s another aspect of the production that is hard to resist, especially since Steinman himself displays great charisma. Evans as Bosley is given the majority of the jokes and with a strong comic ability manages to transform groans into chuckles. He also has a surprisingly strong singing voice well suited to rock. Elsewhere in the small cast, limited acting talent is made up for in excellent vocals and sexy dancing.

Steinman clearly has a following, and his almost rabid fan-base is very much apparent at his shows. While it may not seem your cup of tea, this reviewer would urge you to give it a chance: it’s a bloody good night.