ST. GEORGE — Infamous crime duo Bonnie Parker and Clyde Barrow managed to steal more than just money and cars during the opening night of St. George Musical Theater’s production of Bonnie & Clyde the Musical. Thanks to the lyrics and music of Don Black and Frank Wildhorn, and the more than capable cast under the direction of Cristin Mortenson Tillinghast, the romanticized Depression-era criminals also stole people’s hearts.
Heralded as the Southern Utah debut of this rockabilly/blues/gospel-infused musical, Bonnie & Clyde also served as the first major musical presented at The PAC on Main Street in St. George. Previous events have been staged in the completely refurbished movie-theater-turned performing arts center, including a small cast production of Plaid Tidings last year, but SGMT producer Bruce Bennett said this is the company’s first chance to see what they can do with the intimate proscenium space. The answer, after witnessing the story of Bonnie & Clyde, appears to be — quite a lot.
Opening on the death of the two most well-known members of The Barrow Gang, the audience is quickly transported from the car in which their bodies are found, back to where it all began in the Dust Bowl of Texas, through the eyes of a young Bonnie Parker and Clyde Barrow, (played beautifully by Greyson Gornichec and Zade Johnson, respectively), as they sing about making more out of their lives in “Picture Show.” The story quickly moves forward to find the now grown Bonnie and Clyde still longing for something better than the hand life has dealt them both in a stirring rendition of “This World Will Remember Me.”
From the outset, Alek Jordan’s portrayal of the adult bad boy Clyde Barrow is utterly endearing. With a high energy delivery, boyish charm, and just a bit of mystery, it’s easy to see why Bonnie is so effortlessly swept into his world — especially because she is so anxious to leave her own. Vocally, Jordan’s version of Clyde stands strong, particularly in his breakout solo, “Raise a Little Hell,” and when he is joined by his brother, Buck on “When I Drive.” His duets with Bonnie also show his sweeter side and softer vocal touch, on “What Was Good Enough for You” and the “Dyin’ Finale Reprise.”
For the most part, Hannah Leming holds her own as Bonnie, particularly during her heart-rending execution of “Dyin’ Ain’t So Bad” and even more so when she is paired up with Angela Weber as Blanche on “You Love Who You Love.” The excellent acoustics in the theater allow for Leming’s occasionally softer voice to reach the audience at a nearly equal balance with her counterparts, although there are scattered moments throughout the performance when Bonnie feels a little overshadowed by her co-stars’ slightly stronger vocal skill.
Angela Weber’s performance of Blanche deserves a special spotlight. Despite the significant height difference between her and Rory Wagner as her onstage husband Buck, it is easy to see who is running the show in their theatrical home. Weber’s spunk and strength is the perfect way to execute plot-moving musical numbers like, “You’re Going Back to Jail,” and, “Now That’s What You Call A Dream.” The chemistry between Weber and Wagner makes their onstage marriage believable, and their ultimate decision to follow Bonnie and Clyde together at least a little more understandable.
Although not part of the two leading couples, some of the best vocals of the night came from the rich, rolling oration of Adam Cheney as Preacher. From the opening moments when he stepped out to lead the audience in a round of, “This Little Light of Mine,” Cheney showcased his charisma. Later, his leading vocals and excellent harmonies in, “God’s Arms Are Always Open” and “Made in America” solidified him as a force with which to be reckoned.
Cristin Mortenson Tillinghast makes insightful directorial decisions, such as the choice to bring young Clyde back into several pivotal moments of the show. These choices give even more heart and depth to the character of Clyde as he reflects on the trajectory of his life.
None of the fantastic music in the entire production would have been quite so amazing would it not been for the four musicians playing their hearts out all night long. Live music in a community theater production is a boon in and of itself, and to land the likes of Paul Taylor on piano, Brad Pike on guitar, Kiley Kolodziej on violin, and Sam DeAngelis on drums, is a win all the way around.
The sound quality in the space is unique, given that the venue was originally built as a movie theater. The excellent acoustics serve the production well, but even so, it would help to have body mics on more of the cast. This is especially apparent during the salon scene when a trio of women each get a few lines of a solo, most of which are unfortunately far too quiet to understand. (Evidently, there are more body mics on order, so this problem should be rectified for future performances.)
Simple set pieces and props, courtesy of Donnie Clements and Jonah LaVelle, transform the space without any lag time, ranging from the American Café where Bonnie works, to the jail where Clyde frequently finds himself. The most imposing set piece — a golf cart made to look like a functioning old-fashioned car (courtesy of Kohlby and Alex Peterson and the skill of John Hormaza) — stays on stage throughout the production, serving as a backdrop, an interesting prop, and a visual foreshadowing of the leading couple’s eventual demise.
The musical as a whole earns its 14+ warning label, with more rough language and on-stage romance than some of the more “family friendly” musicals typically found in St. George Musical Theater’s regular season. However, producer Bruce Bennett says that is part of what he’s excited about with regard to The PAC. It’s an opportunity to offer more variety, and occasionally play around with other content, while staying true to SGMT’s overarching mission in its regular season. Don’t miss your chance to see the Southern Utah debut of this exciting musical!
