The music based on the legendary criminal duo does not disappoint

As a former Bonnie and Clyde obsessive and one who has attended the annual Louisiana festival, visited their crash site, sat in their car, and even owns a brick from one of their hideouts, I was eager to see the Bonnie and Clyde at the Palace Theatre.

And I was not disappointed, writes Neil Brandwood

On paper, a musical about a murderous pair who go on a killing spree in Depression-era America might seem dubious. But thanks to a clever script and convincing performances, it worked.

Alex James-Hatton and Katie Tonkinson skillfully conveyed how emotionally immature and impressionable the two were.

While 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 believable 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 brought a certain psychological strength and needed perspective. In fact, the dilemmas he faced were more involving than the familiar story of the eponymous duo.

She was helped in this by Sam Ferriday as her husband Buck. Fittingly, Ferriday kicked things off when he committed a life of crime.

Daniel Reid-Walters also faced a dilemma as lawyer Ted, a potential rescuer for Bonnie. He captured the character’s anguish and frustration, providing additional insight.

As in all good musicals, the songs came at just the right time – almost organically.

While not ingrained in the memory after a single listen, Frank Wildhorn’s music and Don Black’s lyrics were pleasing and period-appropriate, from Country and Western and Bluegrass to Gospel and Ragtime.

Standout songs included Picture Show, You Love Who You Love, Raise a Little Hell and Made In America. I particularly enjoyed the You’re Going Back To Jail comic, one of the many occasions when the superb cast came into play.

Film screenings added adrenaline, giving a documentary feel and enhancing rather than interfering with the events on stage.

Costumes subtly reflected changing circumstances, from waistcoats 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 ugly.

When so many musicals are either the jukebox variety or remakes of movies and television shows, this new production is welcome and refreshing.

Not every show makes you wonder if you sympathize with the protagonists. However, at least it solved the question of why Bonnie’s name was first in the billing!

The musical runs until Saturday, May 11