Bonnie and Clyde

BONNIE & CLYDE

BONNIE & CLYDE, Book by Ivan Menchell, Lyrics by Don Black, Music by Frank Wildhorn was first performed in 2009 in San Diego California, going to Broadway December 2011.  

Be in your seats early to make the most of the full Bonnie & Clyde immersive experience, small vignettes of action with readings from newspapers of the time. The sombre black attire of the supporting cast contrasting well with Bonnie’s burgundy outfit, as emotionless cast also sat in the auditorium adding an atmospheric air leading nicely into the show opener.

With a cast ranging from eight to twenty one, the inevitable parting of the youth waves as these incredible young performers come of age and move on to new horizon. I must praise the young Bonnie & Clyde, respectively Eloise Tripp and Bailey Brennand, for their confident, sassy performances. I particularly liked where young Bonnie shadowed Bonnie in How About A Dance.

Emily Marshall as Bonnie was absolutely outstanding, her singing in Dyin’ Ain’t So Bad was exquisite, How About A Dance, seductive and sultry, all beautifully controlled, executed with style and elan, similarly her duet You Love who You Love with Blanche, Jessica Walters, was utterly sublime.

James Howard as Clyde Barrow, convincing and driven, for all the world looked like he was on the run. A very demanding and challenging vocal range for this character, great chemistry between the pairing, he certainly carried off the role, though a little shouty at times, could be he couldn’t hear himself over the band, but what potential.

Blanche, Jessica Walters, the God fearing voice of reason, pleading with errant husband Marvin ‘Buck’ Barrow, Miles Lesniak to go straight, great interplay with these two as with all of the four leads. Her wonderful That’s What I Call A Dream. The Hair Salon scene leading into You’re Goin’ Back To Jail with Stella, Trish, Gracie and Buck was humorous, featuring Poppy Moore and Emily Durber.

Both sets of parents, torn between the love for their offsprings and the shame of what they had become was really well portrayed. The whole cast in fact were always engaged and in the moment.

Director and Choreographer Gareth Ridge, what can I say, a truly class act, a thoughtful, powerful directing debut, he brought his vision to the stage, the cast delivered it, boy did they deliver. Fabulous. Casting was spot on as well.

Musical Director Leah Franks, I hope we hear much more from her in the Stoke area, excellent band performance, the cast’s harmonies and vocals were obviously very well-schooled.

I really liked the delineated opening areas clearly indicating the stage setting, particularly the parents homes. Movement/Dance throughout was sharp, well syncopated, visually exciting. I must also reference the Church Scene, opener of Act II, Made in America, first of all for the mighty performance of the Preacher, Tristan Hood but the congregation’s dancing made the number live and breathe.

Sound, after an initial opening scene imbalance between dialog and singing, this was really good, I heard every note the band played, loved the vibraslap, the introduction of side fill monitors would help everyone on stage, particularly in hearing the band. Lighting, first class as usual at the Rep.

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