Bonnie & Clyde as presented by UCD Musical Society
Public Adjudication
UCD Musical Society
Bonnie and Clyde
Thursday 21st November 2024
The Astra Hall on the University College Dublin main campus is not the ideal setting for a full scale musical production. More suited to conference-style events, the venue has little to offer other than its ample tiered seating. But that is exactly why I love this role so much. So many times, my expectations have been turned on their heads and it is a truly wonderful thing when that happens. Amateur musical theatre relies hugely on community resourcefulness and can do mentality. The superb production of ‘Bonnie and Clyde’ that we witnessed in the Astra Hall was testament to both. It mattered not that this wasn’t a professional theatre or, indeed, even a proper theatre space. What mattered was that an extremely talented group of talented, creative souls came together with a very clear vision, transforming the space and creating a piece of theatrical magic.
This was my second time to visit UCD this season and their front of house team provided the warmest of welcomes once again. There was a great sense of anticipation as we waited outside the auditorium, before being led to our seats to the strains of 1930s popular tunes which created a lovely atmosphere as we waited for the show to commence.
Spoiler alert: they die at the beginning. And they die at the end. The hallmark of Seán Sheehy’s direction was the outstanding level of acting which brought us on an exhilaratingly gritty journey, set against the backdrop of the Great Depression. Mr. Sheehy’s ability to seamlessly transport us from episodes of high tension to more light-hearted moments, without ever losing the focus on the story, was very skilfully achieved. The director also used a very clever theatrical device of two wonderful dancers, Brianna Kelly and Francesco Bach, to enhance and enrich the story of the notorious Bonnie and Clyde. This was a hugely original take and a bold directorial choice. Ms. Kelly’s and Mr. Bach’s performances were exquisitely moved and beautifully portrayed. I tip my hat to Mr. Sheehy for having the bravery to try something different that, for me, really worked.
The last time I saw Dario Regazzi he was on stage playing Vittorio Vidal in UCD’s Sweet Charity. A talented young man, Mr. Regazzi took up the Musical Director’s baton for Bonnie and Clyde. And what a super job he did too. He conducted a fine nine-piece band, cleverly housed stage left of the playing area, and he elicited a great sound from its talented musicians. There was a really good balance between music and vocals and lyrics were clear at all times in both ensemble and smaller numbers. Principal and ensemble vocals were top notch with stunning harmonies realised by vocal director Caoilfhinn Young. There were so many musical highlights to choose from in this score which draws on elements of blues, folk, gospel, and more traditional musical theatre. ‘This World Will Remember Me’ and ‘Bonnie’ were two such highlights. But it was the absolutely stunning duet, ‘You Love Who You Love,’that stole the show for me with its passion, performance, and incredible musicality.
Choreographer, Emma Rogerson, did a superb job. She managed to reflect the themes of violence and romance in her choreography, always adding to the tension, with a close eye on the narrative detail throughout. Her choreography was inventive and full of character, performed with great energy and precision by a very committed cast. ‘God’s Arms Are Always Open’ was a standout number with its high-energy gospel feel. But the most impressive choreography of the production was encapsulated in the beautifully realised sequences performed by Brianna Kelly and Francesco Bach. It was a joy to watch their combined grace, focus, fluidity, and precision come together in what was a stunningly theatrical combination of dance and storytelling.
Aimee O’Neill was captivating in the complex, emotional role of Bonnie Parker. Her journey from innocence to criminal accomplice was played with such sensitivity and nuance. A very skilled actress, Ms. O’Neill’s emotional range was quite stunning as she moved from romantic idealist to conflicted criminal. Her vocals were simply sublime. Ms. O’Neill’s tone, power and superb range were so impressive. ‘Too Late to Turn Back Now’ was a tour-de-force performance as we saw conflict, vulnerability and resolve combine with wonderful musicality in what was one of many standout moments in the show. ‘Dyin’ Ain’t So Bad’ was equally spine-tingling. It was a brilliant piece of acting through song. But the musical cherry on top was Ms. O’Neill’s incredible duet with Blanche, ‘You Love Who You Love.’ A truly memorable performance overall.
Robert Hogan was quite sensational as Clyde Barrow, the other half of the notorious duo who embarked upon a robbing and killing spree through the Great Depression. This was an acting masterclass from Mr. Hogan. He was incredibly charismatic, yet sinister and dangerous at the same time. And yet, we rooted for him in spite of his despicable crimes, as he descended into a tortured abyss of desperation, spiralling towards the grisly end which we already knew would unfold. Mr. Hogan’s vocals were equally impressive. The very challenging ‘Raise a Little Hell’ showcased quite an extraordinary vocal, as Mr. Hogan delivered an electrifyingly unhinged performance. And then there was the beautifully melodic ‘Bonnie,’ underlining Mr. Hogan’s versatility and range. An excellent all-round performance.
Sorcha McGlynn’s bible bashing Blanche was yet another tour-de-force performance. Providing much of the show’s comic relief, Ms. McGlynn had exquisite timing and superb presence. Her cutting put downs were hilariously funny. But it wasn’t all about the humour and Ms. McGlynn was equally strong with the more dramatic elements. There was a heartfelt honesty about her own love story’s tragic trajectory. What a beautifully full and expressive voice Ms. McGlynn had too. ‘That’s What You Call a Dream’ was a stunning solo, sung from the heart.
Joseph Gibney was just as impressive in the role of Buck Barrow, cleverly balancing the comedic elements of his character with the more serious. Mr. Gibney skilfully navigated the inner conflict of Buck’s loyalty to his brother, Clyde, with his loving devotion to his wife, the very religious Blanche. His chemistry with both Mr. Hogan and Ms. McGlynn was palpable. Mr. Gibney sang very well too. ‘When I Drive’ with Mr. Hogan was a fun number and I loved ‘Goin’ Back to Jail’ with Blanche. A superb performance from Mr. Gibney.
The very talented Elijah Lopez took on the role of lawman Ted Hinton. Hinton is charged with bringing the wayward Clyde Barrow to justice but his unhealthy infatuation with Bonnie Parker adds an additional layer of motivation to his quest. Mr. Lopez played the part with a significant edge and we were always aware of the ulterior motives behind his mission to eliminate his adversary. Mr. Lopez’s super vocals were at their best in his soulful duet with Mr. Hogan ‘You Can Do Better Than Him’ and this song also underlined his wonderful ability to tell a story through song as we were left in no doubt as to his intentions.
Taking on the mantle of moral compass, Connor Kirwan’s Preacher had commanding stage presence every time he appeared on stage, underlining the great strength in depth within this very talented cast. ‘God’s Arms Are Always Open’ was a veritable showstopper full of evangelical power and passionate performance from Mr. Kirwan.
Molly Coogan was very strong as Bonnie’s widowed mother, Emma Parker. Her inner turmoil as she grappled with her daughter’s criminal descent was heartbreaking; her maternal, protective instincts in direct contrast to Bonnie’s hellraising.
Lia Mullan, as Clyde’s mother Cumie Barrow, had an equally emotional journey. Ms. Mullan did very well portraying the strain of Clyde’s criminality on the family unit.
Liam O’Sullivan played the conflicted Henry Barrow very well as he tried to reconcile loyalty to his wayward family with his own, more principled beliefs. His country yokel characterisation was well judged.
Ella Ruddle was a strong Deputy Bud and Irina Agotha played a solid Governor Ferguson, intent on maintaining law and order in her district.
Charlotte Geaghan was an interesting piece of casting as Texas Ranger, Frank Hamer but it really worked as Ms. Geaghan was a skilled actress who brought great strength to the role.
Kareem Al-Asad offered great support as law enforcer Deputy Johnson and Ari Kenny played a great Bob Alcorn, the journalist charged with reporting on the infamous duo’s criminal exploits.
I couldn’t possibly let this go without mention of the wonderful salon ladies, Ciara McKenna as Stella, Julie Bowell as Trish and Dani Halpin as Eleanore. These ladies were excellent actresses and really nailed the sassy fun of their characters. Their performance of ‘You’re Goin’ Back to Jail’ with Blanche and Buck was one of the real highlights of this super production. Say it loud and clear for the people at the back…there is no such thing as a small part!! Bravo ladies.
There was great support from a superbly committed ensemble who were clearly immersed in the story and who added so much to the narrative with their excellent performance levels whether playing bank customers, law enforcement, store clerks or the myriad other characters within Bonnie and Clyde’s universe. Singing and movement were excellent throughout. Focus was outstanding at all times. ‘God’s Arms Are Always Open’ was superbly sung with excellent harmonies from all and wonderful performance levels.
Eva Furlong did a fine job as stage manager, ensuring that Mr. Sheehy’s vision for a fluid, pacy production was well complemented by the slick, organised scene changes. A disciplined and efficient crew was well marshalled by Ms. Furlong and kept everything moving in the fast transitions.
Set design was simple and minimalist with no major pieces coming in or out during the show. However, this simplicity suited the challenging space really well and allowed us to focus more on the beautiful performances and compelling narrative. The cutout car on a raised platform was simple in its design but achieved its purpose well. There was a slight gap in the stage right doorframe through which performers could be seen as they prepared to enter. This was distracting at times.
The lighting design was a significant step up from my last visit to the Astra Hall and, whilst there were many improvements and more creative choices made, there was still quite a bit of work to be done to match the extremely high standards set in other areas of this production. Some elements were really impressive. There was great use of gobos and haze to create some lovely atmospheric pictures. There were some superbly dramatic states achieved to complement some equally dramatic stage action. Timing of cues needed some attention, however, as did the need for more key light to catch faces in certain scenes.
In general, sound was very good apart from some intermittent gremlins at the top of the show. The balance in the band was quite good and the fact that they were ‘housed’ within the set meant that vocalists weren’t overpowered. Cast vocals were full and warm and there was good attention to detail with some well-chosen sound effects. These were mostly well-timed. My favourite was the gunshot with the shell casing hitting the ground. Great to hear that kind of detail. Cueing of mics was pretty solid throughout. A job well done on what can be a challenging show.
For the most part, props were well chosen, reflecting the 1920s/1930s era of the show. There was great dressing on the set, including framed photos, ukulele, radio etc. The ‘True Detective’ magazine was an authentic touch. Era appropriate guns are always difficult to source or replicate for a show like this and I understand the challenges posed therein.
Costumes were generally very good and in keeping with the era. A bit more consideration to the passage of time might have been needed for some of the principal characters to vary what they were wearing as time progressed. Hats and coats would always have been worn outdoors in the 1920s/1930s. A small, very picky point on what was a good costume plot overall.
There was good attention to detail with hair and makeup. Ms. O’Neill’s hair, in particular, was very authentic to the era. Good care was taken to recreate the makeup styles of the day. Well done to all involved.
This was a superb production from beginning to end. The standard of acting and singing was quite breathtaking at times. It was great to see the darkly humorous elements of the show being so well played. Being honest, some of the technical elements fell short of the mark. However, the fabulous performances of this extremely talented cast more than made up for any technical shortcomings. The future of Irish musical theatre is in safe hands.
Pat McElwain
Gilbert Adjudicator 2024/2025
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