Bonnie and Clyde

Beenleigh has been in the grip of Frank Wildhorn fever. No sooner had Phoenix Ensemble concluded their production of Jekyll & Hyde, than Beenleigh Theatre Group opened their Bonnie & Clyde. Despite closing quickly on Broadway in 2011, the show has since gone onto international success around the world. A second-cousin to Chicago and its ‘celebrity criminals” musical-theatre genre, Wildhorn and Black’s score is a combo of rockabilly, blues and Gospel and perfect for the infamous outlaws and ill-fated lovers who became American folk-heroes during the Great Depression.

From early childhood Bonnie believes she could be the next Clara Bow ‘It’ girl, whilst Clyde, practising shooting with a rifle, idolises Al Capone and Billy the Kid. They both believe their way-out of their dirt-poor existence in Texas is to become famous and this they do as they graduate from small-town theft to murder.

Bonnie & Clyde has been given a rip-roaring production by BTG, with strong and likeable performances of the title roles. Connor Hawkins is a cocky and charismatic Clyde. He’s a charmer and a bad boy with a lusty appetite for Bonnie, which she finds irresistible. Lauren Conway’s Bonnie responded with equal passion, was feisty, and a willing partner in crime. As a couple they were electric and carried the show. Their “Picture Show”, sung with their younger selves (Kieran McGinlay was especially good as Young Clyde) was a ragtime joy, whilst Bonnie’s “How ‘Bout A Dance” was touching, as was Clyde’s low-key and tender “Bonnie”.

Brad Kendrick was terrific as Clyde’s adoration-obsessed brother ‘Buck,’ with Katya Bryant giving solid support as his pious wife Blanche. Their “You Are Going Back To Jail!” with the hair-salon women was funny and one of the show’s highlights.

Bonnie’s would-be-lover (if he could get his hands on her), Dallas cop Ted, was nicely played by Dominic Bradley, while Stuart Fisher let his beefy-baritone rip as the Preacher and made a meal of “God’s Arms Are Always Open” and “Made In America”.

Tanya Prince-Foster was convincing as Bonnie’s mom Emma, as was Jeanne Reynolds’ steely Governor Ferguson, who was determined to stop the outlaws’ killing spree.

Bradley Chapman’s slatted wooden set design was inventive and evoked the era and dust-bowl atmosphere of rural America of the thirties, as did Marg Oliver’s period appropriate costumes. Julie Whiting, leading an eight-piece group which included fiddle and guitar, worked wonders in the pit, Chris Art’s lighting and sound added grisly atmosphere to the murders, whilst Kaitlyn Carlton’s direction kept it swift and energetically alive.

Peter Pinne