They sought infamy and they achieved it. Bonnie Parker and Clyde Barrow have gone down in history for their spate of robberies across America in the 1930s, with their love story being the central fascination of the media and the general populus. Now decades later, and a over a decade of musical development itself, the pair find themselves immortalised on the West End stage. But is this show as wanted as they were?

Director Nick Winston has helmed a fluid and clever production, using the space at The Garrick to encapsulate the intimacy of this production. He excels in creating engaging moments through montage sequences though at times seem to hurry a little too quickly through important developmental moments. He gives room for performers to feel their own space, which is welcome in an industry where a lot of direction feels somewhat paint by numbers. Winston also provides effective choreography that is nuanced but not over complicated.

Wildhorn’s score is one of the highlights of the show. Its mix of soft and rock country, combined with gospel and blues explode across the stage manifesting depression era America. His score with Don Black’s stable and at times electrifying lyrics provides a high-powered energy that occasionally feels at odds with the urgency of the scene playing out.

Ivan Menchell creates a solid book that’s full of humour and heartbreak but isn’t at times impervious to slight pacing issues. It almost feels as if Bonnie loses her innocence and gives over to Clyde too quickly, whilst Clyde is almost so far gone initially it’s hard to see how someone as stable as Bonnie would even get in a car with him. The original opening number see the duo as children growing into adults, making you aware of how long these dreams and aspirations had lived with them; in this iteration that’s nixed so it seems as if you’re almost cheated out of vital part of contextualisation. 

Wildhorn didn’t write an easy vocal score for this show, especially for Clyde, and Jordan Luke Gage navigates this rock tenor in such a sophisticated way his vocals should be displayed in the Louvre. The same can be said for alternate Bonnie, Lauren Jones, whose voice careens across the emotional range of Bonnie with ease and beauty. He’s known for his vocals within this industry but Dom Hartley-Harris pulls out an absolute aural explosion as the Preacher that is worth a standing ovation in itself. The leads have a great chemistry and navigate the soft emotional moments of the couple with a beautifully intimate connection, especially when they submit to their fate united. George Maguire’s performance is the standout of the show. His Buck is measured and beautifully nuanced, the level of ease and sophistication is unparalleled combining gorgeously with a layered performance from Jodie Steele as his wife Blanche. 

The visual aspects are the show’s true tour de force. Phillip Witcomb’s colour palate for the set and costume echoes the Great Depression, contextualising the production wonderfully and creating multi-functional spaces for fluid scene changes that marry so well with the impressive projection design from Nina Dunn and layered lighting design from Zoe Spurr. Tom Marshall has designed the sound exceptionally well for the space, providing clarity for all, especially the incredible band expertly musically directed and supervised by Nick Barstow and Katy Richardson respectively. 

The production as a whole may be slightly flawed but that doesn’t take away from the many explosive and frankly breathtaking moments it exudes. It may not be every critic’s choice but an immediate standing ovation from a practically sold out Monday night audience may disagree, and isn’t that who art is really for? The people? But with the relentless government cuts and policies that compromise the live arts, insidiously pricing so many of ‘the people’ out of the theatre, this show is probably more relevant than ever. Why? Because economic depression and the futility of a jingoistic national dream aren’t just living in 1930’s America. Look a little closer to home. 

**** Four stars

Reviewed by: Duncan Burt

Bonnie & Clyde the Musical plays at the Garrick Theatre until 20 May, with tickets available here.