Venue: Hayes Theatre Co (Potts Point NSW), 17 Jun – 17 Jul, 2022
Book: Ivan Menchall
Lyrics: Don Black
Music: Frank Wildhorn
Director: Sam Hooper
Cast: Teagan Wouters, Blake Appelqvist, Carlo Boumouglbay, Jonathan Chan, Darcy Fisher, Lewis Francis, Deborah Galanos, Milo Hartill, Kieran McGrath, Lucy Miller, William Motunuu, Sarah Murr, Caity Plummer, Sam Richardson, Luisa Scrofani, Jim Williams
Images by Grant Leslie
Theatre review
Bonnie Parker and Clyde Barrow lived a century ago in the United States of America, where they had become notorious robbers who killed a total of thirteen people through their exploits. Their names continue to hold cultural meaning today, thanks mainly to the 1967 Hollywood film Bonnie and Clyde, remembered for glamourising that historical entanglement, of crime and romance. This musical version first appeared in 2009, and ran for just 69 performances on Broadway in 2011.
On stage, the scandalous couple’s story seems to lose all its lustre. Their personalities become too nice, and their lawlessness is portrayed too innocently. The book by Ivan Menchall feels uninspired, demonstrating that little about the legendary narrative remains captivating. Directed by Sam Hooper, who brings along an unmistakeable earnestness to this revival, but struggles to make the show deliver enough thrills and spills, even with the presence of firearms throughout the piece.
The general look of the production is accomplished with a minimalist approach, that can feel somewhat unimaginative, and sparse. The songs in Bonnie and Clyde however, are enjoyable. Music direction by Zara Stanton keeps things classic and tight, with neat but lively instrumentations that help to sustain our attention. Vocals by lead performers Teagan Wouters and Blake Appelqvist are powerful ; both offering technical brilliance that successfully elevate these lesser known tunes. Characters in the show, however, never feel convincing, and the audience is never really able to invest meaningfully into any relationship or narrative.
It may seem that we have finally lost interest in old criminals like Bonnie Parker and Clyde Barrow, but the truth is that we have simply shifted our admiration for the outlaw, to a different kind. In 2022, it is the billionaire maverick that has captured our attention. He does not have to wield guns or get his boots dirty. He simply fires off irresponsible tweets, and watch legions of fanboys fawn over his reckless behaviour. He uses his wealth and influence, to manipulate markets, bringing untold volatility to our economies. All because of his insatiable need, to look important and to feel virile.
Suzy Goes See 