Review: BONNIE & CLYDE, Arts Theatre
Photo credit: Richard Davenport
We were lucky enough to be invited to the ‘Fan Night’ at Bonnie and Clyde yesterday and wow, the fans were out in force! From dressing up as their favourite characters to the rapturous applause after each number, it is soon evident that this show has touched many. We too are massive fans of the musical at WEBF and having seen the concert version back in January, we couldn’t wait to see the fully staged West End premiere.
Philip Witcomb’s set is multi textural but dominated by bullet laden flats which have the capacity to either fly out or track into the wings. The vast majority of audience members enter knowing of Bonnie and Clyde’s fate and the production even opens at the climax so this is a constant reminder of the chase and ultimately the finale of the piece. Zoe Spurr’s lighting is photographically inspiring and transitions as if frame by frame throughout. The set is also ably enhanced by Nina Dunn’s video design which adds to the scenes when used.
Nick Winston, who also directed and choreographed the concert at Drury Lane earlier this year, has worked his magic at the Arts Theatre too, making possibly the weakest element of the show (its book) a strong tool in moving the action forward at pace and with intent. Huge kudos must also go to Tom Marshall’s sound design and team who have created an audio masterclass within the intimate performance space.
Having seen her in the role at the concert alongside Jeremy Jordan, Frances Mayli McCann was a dead cert in her performance as Bonnie but we were intrigued to see how Jordan Luke Gage would fare in such a challenging role… Having made waves as Romeo in & Juliet, Clyde is a far cry from his previous West End role but he does it with absolute attack and conviction, with undeniably flawless vocals. ‘Raise a Little Hell’ truly gives him the chance to flex his vocal muscles and he raises the roof when he hits those notes - immensely impressive. He also has a slightly manic quality to his physicality which lends itself well to Clyde’s character.
McCann is the perfect counterpart to Gage and their chemistry is palpable from the outset. She portrays a strong, no-nonsense Bonnie and her two big ballads ‘You Love Who You Love’ (with Natalie McQueen as Blanche) and ‘Dying Ain’t So Bad’ are sublime; the former showcasing exquisite harmonies. It would have perhaps been beneficial to delve a bit deeper into her journey from aspiring actress to one of America’s most wanted but love conquers all!
McQueen provides a great deal of comedic relief in the show, almost caricature-like, but ultimately she is fighting a losing battle in trying to persuade her husband Buck (George Maguire) to ‘go straight’ and walk away from his life of crime. Love, once again, is her driving force. Maguire is a somewhat understated character but more than steps up to the plate to form this perfect pairing, as well as sharing an unbreakable brotherly bond with Gage.
Another notable performance, albeit infrequently used, is Ako Mitchell as the Preacher. He has two of the more upbeat, gospel numbers in the show: ‘God’s Arms Are Always Open’ and ‘Made in America’ and Mitchell really does take us to church! He is joined by the high energy, committed ensemble who take these songs to the next level.
The musical score lends itself predominantly to the country/folk genre and each of the aforementioned principals have a gorgeous lilt to their voice, perfect for these songs. The seven-strong band play live backstage, directed at this performance by Debbi Clarke. For a septet, they perform Frank Wildhorn’s music with a timely flair and there are many moments where you can close your eyes and just be swept along in the moment.
It would be a crime to miss this production.
**** Four stars
Reviewed by: Jenny Ell
Bonnie and Clyde plays at the Arts Theatre until 10 July, with tickets available here.
