‘Bonnie & Clyde’ @ Upright Theatre Co.
Show photos by Delaney Rain Photography
—Rickey D. Wax
Bonnie and Clyde stole many things in their time, but little did I know they would also steal our hearts at Upright Theatre Company. Bonnie & Clyde is a musical triumph of crime and passion. The music is by Frank Wildhorn (Jekyll & Hyde), with lyrics by Don Black and book by Ivan Menchell. Set against the backdrop of the Great Depression, the show blends thrilling drama with heartfelt romance, capturing the duo’s desperate bid for freedom and notoriety.
Bonnie Parker and Clyde Barrow, often referred to simply as Bonnie and Clyde, were notorious American criminals who gained fame during the Depression. They led a gang that committed various crimes—bank robberies, small store hold ups, car thefts—between 1931 and 1934. They became infamous both for their violent crimes and for the sensationalized media coverage of their exploits. The duo met a violent end on May 23, 1934, when they were ambushed and killed by law enforcement officers in Louisiana.
Directed by Natalie Burkhart with musical direction by Noël Clark, Bonnie & Clyde follows the duo from their humble beginnings through their notorious crime spree, painting a vivid portrait of their intense relationship and the societal pressures that fueled their rebellion. The production is a dynamic fusion of raw emotion, suspenseful storytelling, and a powerful musical score that enhances the high stakes between the characters.
The first people we see are Young Clyde (Royce Raper) and Young Bonnie (Betty Gwozdz), who pack a mighty punch for such young performers. The clarity and power in their vocals provide a good jump start to the show.
Mary Ridenour and Shaun Senter deliver extraordinary performances as the titular characters. Senter, as Clyde Barrow, embodies a charismatic yet volatile outlaw whose charm and vulnerability make him both a compelling and tragic figure. Senter has the voice of a rockstar. The rock influence is particularly evident in numbers like “Raise a Little Hell” and “When I Drive”: Clyde’s vocals are driving and intense, mirroring the relentless pace of his and Bonnie’s escapades. From the gritty timbre of his voice to the powerful, often aggressive delivery, the rock elements are unmistakable. This choice not only aligns perfectly with Clyde’s edgy and defiant persona, but also adds a contemporary twist to the historical narrative.
Ridenour delivers a captivating and memorable performance of “How Bout a Dance” that stands out on multiple levels. Her vocal prowess is nothing short of brilliant, effortlessly hitting powerful notes with a richness and clarity that truly commands the stage. The vocal powerhouse skillfully blends sweetness and strength in her voice—the perfect touch for the complexity of her character Bonnie. Ridenour’s overall performance feels both enchanting and authentic.
As if these two actors weren’t enough to make me leap out of my seat, Lorenzo Gapud (Buck Barrow) and Taylor Fujihara (Blanche Barrow) are equally as phenomenal in supporting roles. Gapud’s performance reveals feelings of loyalty and internal conflict, which brings an extra layer of emotional resonance to the story. Gapud’s baritone is noteworthy; his tone enriches the musical’s texture with its warmth and resonance. Fujihara does a superb job of conveying Blanche’s constant state of panic and worry through her high-pitched, frantic delivery. Her performance of “That’s What You Call a Dream” is haunting and poignant. She perfectly captures the character’s inner turmoil and desperate hope for a better life in her delivery of the tune.
The many actors who make up the ensemble add to the rich tapestry that keeps this musical alive. From townsfolks and law enforcement officers to reporters and family members, each of these actors seamlessly transitions from one character to the next. Fred Patterson portrays five characters—and was so hilarious that the audience was on the verge of tears each time he stepped foot on stage. The Preacher (Rickie Jones) leaves us in tears too, but for the opposite reason. Jones delivers a soulful, stirring, and powerful performance of “God’s Arms Are Always Open” that leaves the audience in complete awe. Whitney Morris (choreographer), Gina Gwozdz (dance captain), and Carlo J. Aceytuno (fight/intimacy director) contribute outstanding sequences in the show, performed with precision and enthusiasm—and adding a great deal to the musical’s vibrant and engaging atmosphere.
The costumes selected by Megan Liles add stunning and authentic touches to the show. From glamorous 1930’s dresses to sharp suits and tattered clothing, each costume reflects the time and personality of the characters. Attention to detail, including accessories and hairstyles, transports the audience to the era of the infamous outlaws. The set and lighting design by Katie Cooley and Mia Lindemann is truly immersive. The set uses wooden pallets and dim lighting which places the audience on the dusty roads and in the small towns of the Depression-era South.
The line that stuck with me is spoken by Bonnie: “Everyone is walking around dead except for me and Clyde!” The line encapsulates the characters’ sense of being alive and free in a world that can sometimes feel stagnant and lifeless. Many of us work tirelessly, and at times feel like we’re on a one-way street. For two hours and thirty minutes I was able to root for the anti-heroes. If you feel like being a rebel for a short while, I recommend taking a drive to Euless to see this Upright Theatre production. I can almost guarantee that “You’ll lose the blues.”
WHEN: May 17-June 15, 2024
WHERE: 2501 N Main St, Ste 210, Euless, TX
WEB: uprighttheatre.org
