Directed and Choreographed by Nick Winston
Music by Frank Wildhorn
Lyrics by Don Black
Book by Ivan Menchell
Review by Annie Aslett
Direct from two extremely successful seasons in London’s West End, and hot off a ‘Best New Musical’ win at the 2023 What’s On Stage awards, the UK touring production of Bonnie & Clyde screeches into The King’s Theatre this week. It’s been raising hell up and down the country to rave reviews, so the audience is packed on opening night, ready to experience the gun-flinging phenomenon for ourselves.
What ensues is a love story. Sure, bullets are flying amidst prison breaks and bank heists, but the heart of this musical lies in the whirlwind tale of passion, romance and til-death-do-us-part devotion between its leads. Most audiences know the story of Bonnie and Clyde, the hell-raising bank robbers whose crime spree leads to their eventual demise in each other’s arms (no spoilers here – that’s the first image on stage). But Bonnie & Clyde the musical reveals and excels in exploring the pair’s relationship. We meet Bonnie Parker as a young girl dreaming of future stardom and Clyde Barrow as a young boy dreaming of future infamy. Fate throws these two firecrackers together; sparks fly. If the show has a flaw, it’s that we know what is going to happen; plot-wise there are no surprises: they meet, robberies, prisons, heists, shoot-outs, and death. But the chemistry between the leads and some stellar songs from Don Black and Frank Wildhorn keep this show fantastically entertaining from meet-cute to demise.
Unsurprisingly, this show lives or dies on its Bonnie and Clyde. And what a pair we are treated to in Katie Tonkinson and Alex James-Hatton. Watching this duo, in the relatively early stages of their careers, there is no doubt that these are actors with big things ahead. Tonkinson impresses from the first song with her decisive tonal shift from Bonnie as a daydreaming child to her adult self, ready to take on the world. Tonkinson’s Bonnie is fiercely self-assured and takes no nonsense from her loveable rogue, the spark to Clyde’s touchpaper. Tonkinson does such a pitch-perfect performance of articulating Bonnie’s personality and motivations that it is clear throughout, despite the myriad warnings she receives, that Bonnie is going to hurtle headlong down Clyde’s destructive path. Alongside her acting prowess, as she flits effortlessly between savvy, funny, sexy, straight-talking and sincere, Tonkinson’s vocals are stunning, shown at their best in the moving ‘Dyin’ Ain’t So Bad’. Full of vivacity and emotion, Tonkinson’s Bonnie is not to be messed with and requires a confident Clyde to meet the glint in her eye.
Luckily, Alex James-Hatton is up to the task. Written as he is in Ivan Menchell’s book (bitter, infamy-hungry, arrogant – bordering on narcissistic), Clyde is a character that the audience would be fair to dislike. However, James-Hatton can’t help but charm as the trigger-happy criminal, oozing with charisma but emotionally layered enough to be sympathetic. As with Tonkinson’s Bonnie, James-Hatton is believable in all facets of Clyde’s personality – as utterly convincing when serenading his love in a bubble bath as he is frothing with anger at the state of the country. Standout in James-Hatton’s performance, however, is his rich, soulful voice, unwavering in its vocal acrobatics and filled with emotion. ‘Raise A Little Hell’ is the best number in a scorching soundtrack, and James-Hatton’s performance of it is unparalleled.
Tonkinson and James-Hatton are backed up on stage by a fantastic cast – Coronation Street’s Catherine Tyldesley is a marvel as Clyde’s God-fearing sister-in-law, delivering moments of impeccable comic timing and emotional poignancy. A special mention should go to the fabulous ensemble players – Jasmine Beel stands out in all of her scenes as Bonnie’s mother and in various ensemble roles, providing emotional depth, blistering vocals and excellent physical comedy. Taryn Sudding, in the relatively minor role of Clyde’s mother, provides one of the show’s most emotional moments in her quiet grief.
Directed and choreographed by Nick Winston with set and costume design by Philip Whitcomb, this production of Bonnie & Clyde is professional and slick if slightly underwhelming in its stage design. What makes Bonnie & Clyde shine above its modern musical counterparts is its stand-out soundtrack, with music and lyrics penned by Frank Wildhorn and Don Black. AJ Lewis does a powerful job as the preacher, particularly during ‘God’s Arms Are Always Open’ – it’s during songs like these, when Bonnie and Clyde’s debauchery goes on in the background, that Winston and his creative team have the most fun with the staging and choreography, and represent some of the highlights of the show. Daniel Reid-Walters plays Ted, a local police officer deeply in (unrequited) love with Bonnie – his mellow voice blends gorgeously with James-Hatton’s as they sing about their love for our heroine in a stunning duet. The soundtrack’s mix of rip-roaring tunes and moving ballads gives the show its pace and heart and is a key contributor to the production’s success.
Don’t miss this hot-shot musical spectacular as it lights up the King’s Theatre until April 20th.
Hot-Shot Musical Spectacular
Bonnie & Clyde runs at the King’s Theatre, Glasgow, until April 20th
Running time – Two hours and ten minutes with one interval. Suitable for ages 12+
Photo credit – The Other Richard
Review by Annie Aslett
Annie is a life-long lover of musical theatre, whose childhood performances included a rousing production of Snow White in The Hall and a heartfelt rendition of Go, Go, Go Joseph in The Living Room. While confined to the audiences these days, she regularly catches the latest shows and musicals in London’s West End and is excited to experience the musical delights of the Fringe, as well as any comedy that she can get her hands on. School’s out and she’s raring to review.
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