A somewhat romanticised version of events, but certainly based on fact, this musical from the pens of Ivan Menchell, Frank Wildhorn, and Don Black, tells the story of notorious US couple, Bonnie and Clyde.
The story this evening was played out on a smaller-than-usual main stage, in front of a wall of wooden slats made to look like a barn, which opened up with sliding doors in the centre and hinged doors to either side, giving the company and director ample entrances and exits for the various scenes. Projections were played out onto this surface at times throughout ameliorating scenes and adding to the story. The live band were positioned atop this structure, which was a lovely idea and this worked well. Taking in to consideration the restrictions of the stage, and balancing this out with the requirements of the script, this was a lovely compromise, and the scene changes were swift with smaller items being brought on and off as necessary.
This was a high energy production, sensibly directed by Mark Rosenthal, my only one criticism here, and this is a personal preference, is that I would have found other ways to move dead bodies from the stage. A personal hate of mine is to see said dead bodies stand and walk off stage during a blackout, it ruins the illusion for me.
This fully ensemble cast shone in their respective roles. All had superb and strong voices, amply able to cope with the demands of this jazz and blues infused score. Matt McGoldrick was commanding as the young man driven to the gates of hell through circumstance, and enjoying every second of it, Clyde Barrow. [however I think I would have found a way to hide the tattoos]. Izzi Smith worked well holding her own nicely alongside McGoldrick as his hybristophiliac girlfriend and accomplice, Bonnie. A special mention also to the two youngsters (aged 10 and 12) who played Bonnie and Clyde as children this evening. Their voices and acting matching their adult counterparts with accomplished skill. Cleo Avanessian (Bonnie) and Harry Dunning (Clyde).
Suzi Cleary and Kit Phillips were an excellent subplot pairing as Clyde's wayward brother Buck, torn between his life of crime and his uber-religious wife, Blanche. Alexander Cohen was the love-struck cop in charge of capturing the dastardly duo, but it was Zac Grenier who almost stole the show with his showstopping act one finale song as The Preacher.
Accents were good and generally consistent all evening, costuming was appropriate, and the band sounded perhaps the best I have heard a PADOS band sound to date! The sound levels were just a tad too high for maximum aural pleasure, and the lighting, although effective was either a little late on cues at times, or the actors were failing to find their marks.
An opening night success, and a hugely proficent and entertaining show of which the society should be rightly proud. Bang bang!!
Reviewer - Matthew Dougall
on - 24.4.24
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