★★★★
_REVIEW. it’s about _THEATRE. words _KYLE PEDLEY.
at _WOLVERHAMPTON GRAND. tickets _OFFICIAL SITE. booking until _9th MAR.
images © Richard Davenport.
There’s always the looming hazard of that pesky moralistic tripwire cutting through any biopic – even musical ones – that depict the infamous. Namely, can this be seen to be glorifying or, perhaps worse, even justifying the actions of the deplorable and deranged?
Musical theatre, after all, isn’t exactly shy of championing the anti-hero or even the outright murderous (American Psycho, Sweeney Todd). Heck, the likes of Chicago even satirise the very concept of infamy as celebrity, crime as commodity.
But when slapped on the framework of a true story plucked from history, sensitivities can understandably prickle.

For the most part, Ivan Menchell, Don Black and Frank Wildhorn’s musical retelling of the rise and fall of notorious bandits Bonnie Parker and Clyde Barrow manages to steer clear of trying to outwardly excuse their thieving, gunslinging ways. Barrow (Alex James-Hatton) is framed as a wrong ‘un roughneck from the off, impervious to common sense and decent suggestion, habitually hopping in and out of prison, and bubbling away in his own mire of anger and frustration. And, when the darkness descends, the show doesn’t shy away from commenting on the character’s descent from petty burglar to murderer. Parker (Katie Tonkinson) is introduced as a sassy waitress with dreams of Hollywood and a penchant for poetry. Her downward spiral feels a touch less defined.
“…two commanding central performances and some jaunty, memorable tunes hold together the slightly unsure, meandering book.”
Bonnie & Clyde is, for the most part, a love story about its titular crooks, and even if it never quite digs deep enough for us to really engage with what makes the duo tick, or indeed quite why they are so inexorably drawn to one another, two commanding central performances and some jaunty, memorable tunes hold together the slightly unsure, meandering book.

And transferred from its recent West End iteration, Nick Winston’s tour is certainly a looker. Its muted greys and blacks, heavy, layered use of Nina Dunn‘s projections and stark casts of Zoe Spurr’s lighting spilling through bullet hole-ridden walls or casting out harshly from the wings certainly makes for an impression. It’s a handsome piece, with more than a flair of the cinematic in its bold, stylised execution. Few touring productions play with quite so much on-stage depth and dimension, nor look quite so striking, so kudos to Winston and designer Philip Witcomb for successfully transplanting this on the road with such visceral impact.
Given the aforementioned quality of its soundtrack, it’s perhaps surprising the show has been relatively untouched here in the UK up until last year. There’s a decided (and understandable) country lilt to it all, but Wildhorn and Black’s soundtrack is littered with ear-worms and a good mix of characterful toe-tappers and some surprisingly heartrending belters, too. Who’d have thought a number about dying together could somehow be affecting, profound, fatalistic and yearning all at once?

Of the cast, the only supporting characters who make any sort of dent or impression are Clyde’s brother, ‘Buck’ (Sam Ferriday) and god-fearing, law-abiding wife Blanche (Coronation Street’s Catherine Tyldesley). Tyldesley is particularly fun and fiesty, in many ways serving as the moral compass of the piece, getting a terrific and stirring duet with Tonkinson about loving who you will, and despairing as her ‘daddy’ keeps finding himself embroiled in his brother’s problematic ways. And though the show doesn’t do a tremendous amount with him, Ferriday is in fine voice, and makes the most of what moments he gets as the conflicted Buck.
“Tyldesley is particularly fun and fiesty, in many ways serving as the moral compass of the piece.”
Elsewhere, a nifty gospel number deftly intercuts preaching and proselytising with Clyde’s increasingly dangerous larceny, and makes good use of singer Jaz Ellington’s soulful vocals, and Winston’s flair as director-choreographer keeps the show spritely and kinetic throughout, even in its talkier moments.
But really, much of the impact of Bonnie & Clyde rests, unsurprisingly, on the shoulders (and lungs) of its two leads, and they are quite criminally good. Tonkinson as Bonnie makes for the perfect aspiring ingenue, naive and distracted enough to the point that she’s giddy at the thought of a hostage asking for her autograph, and still clinging to hopes and dreams of Hollywood even as the bodies pile up. With undeniable charm and appeal, it’s easy to imagine this Parker actually having what it takes to have become a bonafide star (albeit less claret-stained). And whilst the book doesn’t afford Bonnie quite as much introspection or perspective as her beau, she gets some great sings, with Tonkinson delivering an impressive blend of both the powerful and the delicate, complete with signature Texan lilt.
“…it’s easy to imagine this Parker actually having what it takes to have become a bonafide star.”
In what deserves to be a star-making turn, Alex James-Hatton is all fire, rage and truly stellar vocals as Clyde. Lending the bandit the perfect, intoxicating mix of dashing, cocksure allure and fringes of something far more sinister, it’s a barnstorming performance. James-Hatton doesn’t shy away from the lighter, even sillier moments, too, rounding out a seriously impressive outing. And in case it hasn’t been clear, the boy can sing.
Whilst it does fumble about a bit trying to find its perspective, message and purpose (brace yourself for the most perfunctory, cookie-cutter law enforcement you’ve ever known), there’s a lot to enjoy in this sexy, showy retelling of Bonnie & Clyde. Mercifully, it doesn’t seek to glorify or excuse its subjects (though in fairness, it doesn’t probe too deep beneath the surface, anyway). On paper, there’s precious little here that will blow your mind or break the mould, but when it is this strikingly staged, and carried by two absolute powerhouse, tour-de-force performances that inject the enjoyable score with range and heart to spare, it makes for a guns-blazing, roof-raising spark of intoxicating folie à deux.
Would you be criminal to miss it? Perhaps not, but it’s certainly a drive well worth taking.
why not give us a follow on instagram?
It’s 5 (6, 7, 8…) stars ⭐️⭐️⭐️⭐️⭐️ from @kylebpedley for @thestepsmusical!
Head on over to the TWE site (link in bio) to read Kyle’s full review of this ‘relentlessly entertaining slice of new jukebox fabulousness’, which runs at @thealexbham until 30th November, ahead of its recently-announced UK tour which commences September 2025! 💓🤠✨🛒🎭
#hereandnow #hereandnowtour #musical #steps #stepsmusical #review #thestepsmusical #birmingham #thealexandra #thealex #midlands #whatson #twe #thingsweenjoy
Nov 20

TAKE FIVE (…six, seven, eight) with @thestepsmusical! 🪩🛒🕺🏽💓
‘Here & Now’ is officially OPEN at @thealexbham, and in the run-up to this STOMPing World Premiere, we bootscoot’d down to the rehearsal room, where @kylebpedley got to ‘take five’ with the show’s fabulous leading ladies, @beingbeckylock & @supashar.
Watch now as the trio chat all things musical theatre, things we’ve enjoyed, the bostin’ City of Birmingham and, of course, STEPS themselves! ✨
‘Here & Now’ runs at the Alexandra Theatre, Birmingham until Saturday 30th November - get your tickets now! 🎭🎟️
And keep an eye out for our full, official review of the show after its glittering gala opening night next week! 🤩
#steps #stepsmusical #thestepsmusical #hereandnow #theatre #musical #musicaltheatre #rebeccalock #sharlenehector #birmingham #whatson #thealexandra #alexandratheatre #sayyoullbemine #twe #thingsweenjoy
Nov 11

“Delightful, unapologetic cabaret goodness with an extra sheen of malevolence” - we had a wicked-ly good time catching the @oldjointstock theatre’s ’I Screamed A Scream’ this week! 😈🎃
Head on over to the TWE site (link in bio) for the full review of this ‘deliciously entertaining’ celebration of the best villains, rogues and rascals of stage and screen.
It truly does feel so good to be bad! 😈
#IScreamedAScream #Cabaret #Villains #Halloween #Disney #OldJointStock #Theatre #Review #TWE #ThingsWeEnjoy
Nov 3

“A moving, pensive story and beautifully crafted production both…” featuring “what should be a star-making central turn” from Ryan Kopel - it’s a glowing five stars ⭐️⭐️⭐️⭐️⭐️ for the ‘beautiful melancholy’ of @DEHWestEnd at @thealexbham from @KyleBPedley! 💙
Head on over to the TWE site (link in bio) to read Kyle’s full review of the show; which runs at the Alex until Sat 26th October, before continuing its UK Tour.
#DEHWestEnd #DearEvanHansen #UKTour #EvanHansenTour #Review #Birmingham #TheAlexandra #Theatre #Musical #TWE #ThingsWeEnjoy #Review #RyanKopel #WavingThroughAWindow
Oct 23

Mangetout, mangetout! It’s a lovely jubbly four stars ⭐️⭐️⭐️⭐️ for @ofahmusical at @wolvesgrand!
Head on over to the TWE site to read @kylebpedley’s full review of what he calls a ‘legitimately funny recapture of a classic’.
‘Only Fools and Horses the Musical’ runs at the Grand until Sat 26th October 2024, before continuing its UK Tour.
#onlyfoolsandhorses #musical #wolverhampton #review #ofah #ofahmusical #uktour #comedy #funny #whatson #twe #thingsweenjoy
Oct 22

It’s 4 ⭐️⭐️⭐️⭐️ stars from @kylebpedley for ‘Becoming Nancy’ at @therepbirmingham!
Head on over to the TWE site (link in bio) to read Kyle’s full review of this ‘fun, feel-good musical’ which boasts ‘a winning cast’ and a soundtrack ‘positively stuffed with catchy, jaunty earworms’.
‘Becoming Nancy’ runs at the Birmingham Rep until Sat 2nd Nov 2024.
#BecomingNancy #JerryMitchell #TerryRonald #Birmingham #BirminghamRep #New #Musical #MusicalTheatre #Review #TWE #ThingsWeEnjoy #October #LGBT #LGBTQ #Pride #FullOut
Oct 20

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