choral “God’s Arms Are Always Open”. This was a fabulous number, full of energy and well-choreographed. By contrast he held our attention with poignancy and reverence in its reprise at the end of Act II. Daniel Cartwright, as Bonnie’s secret admirer Ted Hinton, gave us a riveting cameo of “You Can Do Better Than Him”. The final, perfectly timed, tear-jerking phrases when he is joined by Clyde were particularly special. All this vocal talent was accompanied by a superb band, situated behind the set, led by Alex Williams. Although a (very) few times, slightly overpowering, this was a sympathetic partnership between instrument and singer. All credit to them for a magical moment when Clyde is in the bath singing a tender a Capella “What Was Good Enough for You” with Bonnie and they gently start to join in and offer their accompaniment. The cast were given an excellent set by Sean Duvall; a simple but well-designed exterior of a South American barn, which could accommodate the car in which Bonnie and Clyde met their fate; well-placed simple furniture, blocks and even jail bars on wheels which were smoothly slotted into place to create the different scene changes. This was particularly well-done during Act II when multiple short scenes were used to progress the story to its conclusion. Similarly, the technical teams supplied the appropriate effects which enhanced the action. Spot on gunfire effects, of which there were plenty, didn’t miss their mark. The lighting design from Ian Wiper and Millie Capper gave us a visual treat which was by turn scintillating during the fast-paced action and attuned to the right mood for the tragic scenes. As I have come to expect from this company who all work so well together, this was an excellent production from a talented cast, directed with skill and empathy by Ben Evans-Clarke. As you hang up your southern drawls and gun holsters, you should be mighty proud of what you have achieved.
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