As a former Bonnie and Clyde obsessive, and one who has attended the annual festival in Louisiana, visited the site of their downfall, sat in their car and even owns a brick from one of their hideouts, I was eager to see Bonnie and Clyde at the Palace Theatre.
And I wasn’t disappointed, writes Neil Brandwood
On paper, a musical about the murderous pair who went on a crime spree in depression era America might sound dubious. But thanks to an intelligent script and convincing performances, it worked.
Alex James-Hatton and Katie Tonkinson skilfully conveyed just how emotionally immature and impressionable the two were.
Although there were moments of tenderness, their portrayal of Bonnie and Clyde as a desperate couple in freefall rather than epic and tragic doomed lovers was far more credible – and reflected the real-life truth.
As sister-in-law Blanche Barrow, Catherine Tyldesley was a more complex and conflicted character than the others, and she brought some necessary psychological heft and insight. In fact, the dilemmas she faced were more involving than the familiar story of the eponymous duo.
She was helped in this by Sam Ferriday as husband Buck. Appropriately oafish, Ferriday fired things up when he committed to a life of crime.
Also facing a dilemma was Daniel Reid-Walters as law man Ted, a potential saviour of Bonnie. He captured the anguish and frustration of the character, giving additional perspective.
As with all good musicals, the songs occurred at just the right moment – almost organically.
Whilst not rooting themselves in memory after just one hearing, Frank Wildhorn’s music and Don Black’s lyrics were enjoyable and period-appropriate with everything from Country and Western and Bluegrass, to Gospel and Ragtime.
Stand-out songs included Picture Show, You Love Who You Love, Raise a Little Hell and Made In America. I especially enjoyed the comic You’re Going Back To Jail, one of many occasions when the superb supporting cast came into their own.
Film projections added adrenaline, giving a documentary feel and enhancing, rather than intruding on events on stage.
Costumes subtly mirrored changing circumstances, from vests and aprons, to Bonnie and Clyde’s idea of glamour. There was a kind of pathos when, even in all their finery, their lives remained threadbare.
When so many musicals are either the jukebox variety or reworkings of films and television shows, this newish production is welcome and refreshing.
It’s not every show that makes you question whether you sympathise with the protagonists. Still, at least it settled the question of why Bonnie’s name came first in the billing!
The musical runs until Saturday, May 11
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