BONNIE & CLYDE
- writeonarts
- 6 days ago
- 4 min read
Updated: 5 days ago
Director: Angela Walker
Musical Director: Katie Wigmore
Vocal Director: Duncan Bouwer
Choreographer: Caitlyn Blake
Producer: Hamilton Musical Theatre
Riverlea Theatre, 10-24 May 2025
“You’ve read the story of Jesse James
Of how he lived and died
If you’re still in need of something to read
Here’s the story of Bonnie and Clyde.”
– Excerpt from “The Ballad of Bonnie and Clyde” by Bonnie Parker
Bonnie Parker had dreams of becoming an actress. Billy the Kid fan Clyde Barrow was born into a destitute family. The pair met, fell in love and then went on a crime spree during the Great Depression. The rampage ended with the two of them being eliminated during an ambush in Louisiana on 23 May 1934 (more on this date later).
In a Write On For The Arts first, I have just had the privilege of seeing Hamilton Musical Theatre's season of Bonnie & Clyde on both Preview Night and Opening Night. This has allowed me to review the roles that have been double-cast - Bonnie, Young Bonnie and Young Clyde.
In my November 2024 review of Riverlea Theatre’s Flashdance, I mentioned that everyone was asking who “the new guy” was. Six months later, and Andy Derby needs no introduction. As Clyde, he was self-assured and mesmerising. He had the intensity of Di Caprio and his vocal delivery was exceptional.
As Bonnie, Zara Thompson was sensational. Her voice was effortless, and her portrayal was accomplished. Lily Burgess-Munro (Bonnie) played the role with maturity beyond her years. She has a great voice for musical theatre. Thompson and Burgess-Munro were equally magnificent. It is impossible to choose one over the other as neither slipped up or lacked in any capacity.
Lucia Leith (Young Bonnie) was poised, heartfelt and joyful. Nico Schuitemaker (Young Clyde) brought an infectious enthusiasm alongside his pitch perfect and powerful voice.
Sparkly-eyed Leia Bentley (Young Bonnie) showed great promise with a polished performance. Zavier Leith (Young Clyde) had impeccable diction and his interactions with Derby were captivating.
Lucy Thomas was flawless as Clyde’s sister-in-law Blanche. Thomas was witty, expressive and had mastered the mid-west accent in dialogue and vocal delivery. Jono Freebairn was a comedic standout as squeaky-voiced hillbilly Buck Barrow. Alex Smith (Ted) had an exquisite voice that harmonised beautifully in several duets.
Kirsty Skomski (Emma Parker), Cat Dwyer (Cumie Barrow), Nigel Slaughter (Henry Barrow), and Cam Strother (Preacher) all gave fabulous performances. The entire ensemble was passionate, each member getting a chance to flex their acting chops and/or voices throughout the musical.
Photographs of the notorious couple, dates, locations, and footage from the depression were projected across the set. The wooden panelling on the set doubled as lined paper for newspaper headlines. The mood created by the refined lighting and hazer gave a real sense of dusty Texas and the grimy mid-west during the Great Depression.
Makeup team, the eyebrows were impeccable! Any flapper would have been proud to have been seen with them and those Cupid’s bow lips. The team also created authentic bruising and bullet wounds. Bravo!
The costumes were well-curated in mainly muted tones. The pops of red in Bonnie’s outfits added flair without being a distraction. The conscientious props team had sourced numerous vintage items including guns, suitcases, a bicycle, sewing machine, and a wagon. Bonnie and Clyde’s famous motorcar appeared on multiple occasions, wheeled into different locations.
Bonnie & Clyde only had a couple of choreographed numbers which was a pity. I was hoping for some tap given the time period and the known talents of the cast. Caitlyn Blake was able to showcase her experience in a couple of energetic ensemble numbers.
Musical Director Katie Wigmore lead a talented band of nine while also playing the flute. The orchestration gave the opportunity for each of the instruments to have their moment in the spotlight (hello, gloriously mellow clarinets). Although a fairly new and unfamiliar show (it premiered on Broadway in 2011), Bonnie & Clyde was packed with toe-tapping numbers. The band nailed the rockabilly, blues and gospel inspired score with style.
Director Angela Walker’s research and vision was brought to life (and death) by a dedicated cast, crew, band and production team. Walker had a clever way of exiting the dead off the set. Given the confines of the venue, Walker had created a visually expansive show that utilised the entire stage footprint. Unfortunately, the shallow raked seating arrangement meant that poignant moments such as the picnic, the poetry recital and some of the deaths could not be seen by the bulk of the audience because they were performed at the front of the stage. The one lost opportunity for this show came from Walker’s own note in the programme, that Clyde was a talented saxophonist. Leading man Derby was made for the challenge, especially in the saxophone department.
The major issue of noise travelling from the stage left wing with things being knocked over and moved around during Preview Night had been rectified by Opening Night. Some further underscoring or vamping would have muffled that distraction however it would have been challenging to navigate given the band’s distance from the action.
Hamilton Musical Theatre’s Bonnie & Clyde will be remembered for its talented cast and expressive storytelling. Every element worked in unison to create a cohesive, immersive and authentic retelling of the legend of Bonnie & Clyde.
HMT have supplied
An impressive production of Bonnie and Clyde.
Tickets are in high demand. Get in fast, particularly for the 91st anniversary of Bonnie and Clyde’s deaths (23 May 2025). That should be an especially sentimental show plus it's a Friday night. Win win. Note: If you book for two nights to see each Bonnie and both sets of the juvenile characters, you'll receive a ten percent discount.
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