Bonnie & Clyde

The Arlington Players

Teen Reviewer: H. Poirot

Photo credit: Owen C. Cullen

If you won’t go to heaven, why not raise a little hell?

That question and much more were explored in The Arlington Players’ production of Bonnie and Clyde, a delightful show that kept audiences hooked for its entire 150-minute runtime. Telling the story of the famous outlaws, its poignancy and emotion, dabs of humor here and there, and superb performances made it a show to remember! 

Bonnie and Clyde

Ivan Menchell (book), Frank Wildhorn (music), and Don Black (lyrics) based their 2009 musical adaptation on the real-life young outlaw duo of Bonnie and Clyde. While the pair committed obviously terrible crimes (bank robberies, various murders, etc.), they were largely driven by anger over the Great Depression and deep national poverty. Craving notoriety, they often posed for sensational photographs that imprinted them into legend. 

Bonnie and Clyde drew renewed attention in the 1960s, after the release of Arthur Penn’s hit film, starring Warren Beatty and Faye Dunaway as the titular characters. It helped glamorize the famous duo, emphasizing the romantic element of their story. 

Alright now, enough lecturing. On to the show!

Production and Performances

Bonnie and Clyde was excellently performed, and each cast member truly captured the unique energy of their character. As the main duo, Megan (MJ) Cooper and Ryan Kieft each excelled in their role, making the legendary outlaws their own. As Bonnie, Cooper emphasized her character’s conflict over her dream to be a movie star and her love for Clyde. She made Bonnie the “ravishing redhead” she is, and her vocals were out of this world: during her solo number "How 'Bout a Dance," Cooper captivated the audience and made them feel as if their surroundings had melted away.

In an equally excellent performance of Clyde, Kieft’s angst and determination to look tough were contrasted by his love for Bonnie, whom he longed to have beside him, no matter what costs he brought upon her reputation. Capturing his role’s unrelenting passion for crime, Kieft delivered a powerful performance, epitomizing his desire to go down in history alongside Billy the Kid and Al Capone (both of whom he frequently cites as role models). In a particularly memorable number, Clyde–who had been sexually abused and beaten by a fellow prisoner–contemplated whether or not to commit a murder to save himself. The resulting number, “Raise a Little Hell,” perfectly exemplified Clyde’s tortured existence; brought out by Kieft’s powerful vocals, the scene left the audience, myself included, in a state of awe. Bravo!

Naturally, no musical would be complete without its songs–I’ve already discussed “Raise a Little Hell” and “How ‘Bout A Dance,” but that’s only a couple of the lively entourage of songs brought to life by music directors Adam Esrig and Ryan Li! The opening number, “Picture Show,” followed Bonnie and Clyde in their youth as they entertained their childhood dreams. As young Bonnie, Ella Derke greatly captured the flapper girl energy of the roaring ‘20s with her desire to become an actress, and–in the role of young Clyde–Daelyn Funk emphasized their character’s outlaw dreams, with a toy rifle and booming lines like “Bang, bang, you’re dead!” Derke and Funk both delivered rousing portrayals, putting just as much enthusiasm into the roles as their adult counterparts. 

No song better captured the relationship of Clyde and his brother Buck (played expertly by Garrett Walsh) than the endearing “When I Drive,” a fast-paced number about the thrill of the open road. As Buck, Walsh delivered an engaging and humorous performance; like his brother, he longs to be an outlaw, but is held back under the watchful eye of his wife, Blanche (Cody Boehm). In a moment of utmost hilarity--and a personal favorite number of mine--Blanche enlisted the help of a hilarious trio of townswomen played by Gabriella Minor, Erica Kilgore, and Julianna Cooper. The failed attempt to soothe her husband made for a good laugh, and it was fun to watch Buck stare slack-jawed as he contemplated his impending fate.

The amazing choreography from Shayna Druckman and Brooke Cody really shined in another humorous song, “God’s Arms Are Always Open.” The effervescent Brady Misusti led this entourage of actors as the Preacher, who was practically bouncing about the set! His boundless energy left the audience dancing in their seats, bringing out a true moment of merriment impossible to forget. 

While Bonnie and Clyde certainly had its moments of humor, the show dealt with heavy aspects as well. In a particularly pivotal sequence, our dynamic duo returned home to visit Bonnie’s mother Emma, powerfully portrayed by Emmaline Taylor. Her performance, consisting of full-on weeping and begging, felt so real that it was a surprise to learn Taylor had previously taken a 12-year hiatus from the stage. 

Bravo to directors Kayla Damian and Ethan Kahwaty for putting on such a delightful, engaging show. With its lively musical numbers, fantastic performances, nine-piece orchestra, and endearing visuals (I’ll get to that shortly), the show was a two-and-a-half-hour serving of joy, and I can imagine I’ll have the soundtrack stuck in my head for weeks!

Technical elements

Madison Chupka’s set design perfectly emulated the impoverished time of the 1930s; it consisted of the titular characters’ homes placed side by side, both missing a piece of the roof as if it had been bitten off. It is the simplicity of the design that brought out how hard-living the times were. Costume designer Samantha Lewis clearly put her all into bringing out the vibe of rural West Texas. Other notable costumes include Bonnie’s various dresses, each serving as examples of her flapper ambitions, and Blanche’s final outfit, in which she replaced her dress with khaki pants and boots as she joined her husband in a life of crime. 

As the show’s lighting designer, Jake Gunter literally shone a light on important plot elements. Whenever a character was killed, neon lights would flash red over their body, simulating blood without over-emphasizing the gore. The lighting was also particularly effective in the number “When I Drive.” Lights flashed almost frantically, bringing out the high-living, fast-paced concepts expressed in the song.

Who is it for?

Damian and Kahwaty have truly put together an outstanding production of Bonnie and Clyde; its engaging plot, acting, music, and visuals will keep the audience hooked for the entire two-and-a-half-hour run. While the production is rated PG-13, I’d personally recommend it to ages 11 and up, as the show includes intimacy, abuse, simulated gunfire, weapon display, death, and homicide. Nevertheless, the show is easy to understand, and certainly enjoyable to anyone who loves quality entertainment.

Bonnie and Clyde runs on Fridays, Saturdays, and Sundays through September 20 at Thomas Jefferson Community Theatre.

Visit thearlingtonplayers.org for tickets and more information.