Bonnie & Clyde (Garrick Theatre, London, Personal)

🌟 Bonnie & Clyde 🌟

7 April 2023 at 7:30pm at Garrick Theatre, London

★★★★★

Bonnie & Clyde really is a masterpiece and beautiful representation of what modern musicals can do. This was my second visit to the Barrow gang, following a show at the Arts Theatre in July '22. First seeing the show, I was absolutely amazed at the production, just how fearless and refined it was, paying brilliant homage to the recklessness of these small-town criminals. It would seem impossible, but returning to the Garrick, it just won't stop getting better each time, really out-doing itself with revised moments, to make the best of it's first run. I'm very lucky that I managed to get front row of the stalls for the both of these runs, which really heightens the intensity of the show in certain moments, dragged into the world of the famous outlaws. 

This show was the first time I'd seen Frances Mayli McCann and Jordan Luke Gage as the titular characters, and I'd seen much praise about their dynamic together, and now I completely understand the reason why. The pair have an unbelievable chemistry and just really get how one another perform, bouncing off of one another's nuances throughout. To focus particularly on their performances, I'll begin with Jordan Luke Gage's role as Clyde Barrow. He defines this role in such a scarily accurate way, as I was often amazed by his facial expression, very wicked eyes and smile, to understand the mannerisms so perfectly really makes you believe Clyde's crazed behaviour. Jordan's performance of 'Raise A Little Hell' sent chills the first time, and absolutely delivered the same the second time around! But especially as he comes to the front of the stage, and surveys the audience with a devilish intention, this feeling is so frighteningly intense, and as an audience member, it is so gripping to be drawn into this, to be fearful of the consequences of Clyde's anger. And Jordan's vocals are handled with so much power, that adapt to every situation, creating a charisma and cheekiness that we shouldn't love, yet we can't help enjoying his charm. Moving on to the insanely talented Frances Mayli McCann, presenting a naïve and out-of-her-depth Bonnie, as the whirlwind romance is swept up in the glamour of 1920s fame. McCann really impressed me with her take on Bonnie Parker, because she made the role her own, and has a very demanding way of drawing attention to to subtleties of doubt she faces across the plot. Often we saw her determination, but also a lovely vulnerability alongside Blanche, humanising the role beyond a criminal. Certainly in 'How 'Bout A Dance', I loved hearing her adapt slight moments in the song and really placing meaning behind all of her lyrics, wonderfully enunciated and really understanding how to own a stage.

It was fascinating to see Buck and Blanche's romance with a new pair of actors filling the roles. Particularly focussing on Blanche, the first actress I saw was Natalie McQueen as a rather eccentric and incredibly humorous Blanche, though much alike Frances' Bonnie, Jodie Steele provided a really refreshing take on Blanche, a heightened sense of sincerity, venturing beyond the comedic façade to show she isn't as strong as she wants to be, and the effects of a cruel world. I found her guttural scream absolutely heart-wrenching, again presenting a very emotion-led Blanche which I really enjoyed. Our Preacher for the evening (Alexander Evans) and the ensemble were absolutely brilliant, showing the power of religion, beginning with an evangelical ceremony of joy and forgiveness. The writing is very clever with the congregation, flipping the intention of the lyrics and meaning in Act 2, for a much more sinister during the tensions of economic Depression. The 'Made In America' track was especially forbidding, with heels stamping in a very violent and threatening beat, and a shrill, rather haunting vocal crescendo that really reflects on a brash society.

There are most definitely changes from the show's original run at the Arts Theatre, which I won't give away too much, though slight adaptations were really revitalising, just to breathe an extra bit of life into the production and keep the interest flowing. The musical deserves a huge congratulations to Nick Winston's direction in creating such a refined show, and also commending Annie Guy's polished and stunning choreography, among all the other elements to the show. I absolutely adore the orchestration across the show (Wildhorn and Black), brilliantly period accurate and sets the tone perfectly. Let's just keep fingers crossed Bonnie & Clyde gets a more permanent run in the West End, and the soundtrack comes out immediately!

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