Bonnie & Clyde

This fast-paced musical tells of the short lives of two dreamers from Texas, madly in love, during the American depression. Clyde is out on parole and falls for Bonnie waiting at table in the diner. Both are craving exciting lives which leads into a life of crime, a life on the run, gaining notoriety. Despite family pleas and prayers, Clyde’s brother Buck joins the gang and together embark on a series of robberies at gunpoint of stores, garages and banks. During an escape Buck is shot dead and Bonnie & Clyde decide to visit their families once again with an inevitable fate looming. Driving straight into an ambush with the authorities shooting them dead – we see them motionless in their splendid yellow vehicle, back centre stage on opening. A fast action-packed plot, with romance, flowing poetry, violence and despair with a terrific musical score - a combination of rock, gospel, and  blues exceedingly well performed by the exceptionally talented cast and band led by Ruth Roberts.

Atmospheric impact immediately on entering the auditorium – it was black as was the stage with front left and right a pile of pallets; up stage three rolling panels depicting the slatted wooden shack built by hardworking but failed farmer Henry Barrow, a gentle supporting role played by Tony Powell. He doubled as a determined, retired, cigar puffing Ranger Frank Hamer brought in by the strong character of Gov. Miriam Ferguson to track the pair down. Angela Patrick doubling her character too as Clyde’s poor kindly mother Cumie. Peter Huxley used his magic with set design and build, assisted by Stuart Swift. With various additions of furniture pieces and props we entered many locations from a dirt road, diner, hair dressing salon with trolley and dryer, the county jail, courthouse, church, living quarters, courthouse, a bank, hideouts and more. Blackouts and placings were efficiently carried out by the backstage crew. The large, front-on bright static yellow car built was impressive.

The two young Bonnie and Clyde parts were played most confidently, making their debuts with TODS was Toby Scott in his overalls and chaps shooting everything in sight and Darcey Bird singing with passion Bonnie’s life dream song, another strong debut performance. With ‘The World Will Remember Us’, ‘How About a Dance’ and ‘You Love Who You Love’ my favourites numbers. Our femme fatale,  ravishing red-headed Bonnie was Jessica Leaper – who I could not recognise from her appearance as blonde Doralee in 9 to 5! A first-class performance in both script and song alternating from the soft poetic romantic to enjoying the risk taking and inevitability it would all end violently. A great pairing with Luke Jones ‘Raising a Little Hell,’ another fine debut powerful performance of this iconic character I could not dislike despite his violent behaviour. Brother and sister-in-law support roles were also commendable – religious, pleading Blanche Barrow was played by Fiona Gold-Bond with a very touching death scene with husband Buck, who tried to go straight but strayed again and was played by Simon Tomlinson. They too had some good musical numbers. Rebecca Woollard played widowed mother of Bonnie, Emma Parker – a caring, overprotective but fragile character who failed to persuade her daughter Clyde was a criminal.

Other cameo parts were the long arm of the law – Ted Hinton, a deputy who was also quietly in love with Bonnie was Jamie Lee with ‘Snoot’ Sheriff Schmid David Richardson, Stuart Swift sharpshooter Bob Alcorn, Michael Fitzgerald with strong passionate gospel vocals as the evangelist preacher. Other characters included gossiping ladies in the hair salon, church goers, food kitchen folks, clerks, bank customers etc were performed by very expressive ensemble players, Samantha Tomlinson, Kay Hall, Jamie Richmond and Natalie Cornish.

Firearms looked realistic, shots were certainly well cued and loud, choreographed fight scenes slick and general movement well-spaced throughout with  numbers slick with good intonation. Musically the band and cast under the direction of Ruth was first class – good clarity, both expressive and moving. With Lou assisted by Natalie this first time musical for me was a winner. Costumes and footwear, hairstyling and makeup were certainly of the era, drab in this economically grim period but loved the red  contrast for Bonnie. Rose Clarke presented a most interesting A5 programme with the up-to-date NODA  info, history and memorabilia. Co-ordinating great sound and lighting from the technical team with efficient backstage support.

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