The Broadway Musical Blog – Musical theater news and gossip from the Great White Way

Dishing out daily (or almost daily) Broadway musical news and gossip. The companion site to The Broadway Musical Home (broadwaymusicalhome.com), a directory of Broadway musicals with the story, songs, merchandise, video clips, lyrics, tickets, rights & awards for almost 200 shows.

The Reviews for Bonnie & Clyde are In…

The reviews for Bonnie & Clyde are in, and though they’re not the worst Wildhorn has seen, they are far from positive. Reviewers did find some redeeming qualities in the show’s cast, but found the story and songs simply didn’t deliver. Unoriginal and uninspired, most of them left the theatre asking the question: “Why?”

NEW YORK TIMES

That Clyde Barrow is such a cutup. Why, the boy will do most anything to stir up his sluggish fellow Americans: slap at them, tickle them, shoot them in cold blood. He’ll even punch his fist clean through a wall and drive a big old car right onto the stage, just to try to get a rise out of somebody. But Clyde, honey, t’ain’t nothing you can do to raise the pulse of something that’s as near to dead as the show you’re in.

Click here to read the full “Bonnie & Clyde” review.

HOLLYWOOD REPORTER

Of all the legendary real-life outlaws who have cemented their place in the pages of classic Americana, few have been as iconically brought to life as Bonnie Parker and Clyde Barrow in the landmark 1967 Arthur Penn film. So it takes a bold creative vision to put a fresh stamp on the doomed Depression-era felons. The new musical Bonnie & Clyde assembles four talented leads in a good-looking production, but its trite storytelling leaves them shooting blanks.

Click here to read the full “Bonnie & Clyde” review.

VARIETY

Boy meets girl on a deserted road in Depression-era West Dallas, and sooner than you can say “Warren Beatty,” they’re rolling in the hay — or rather, the dust. Seeing as how his name is Clyde and hers is Bonnie, the eventual outcome is no surprise here, and indeed the dead-end story trajectory grows burdensome, as does the fact that unschooled white-trash gunslingers generally aren’t loquacious enough to steal the spotlight. For all that, three exciting performances and a better-than-usual score from Frank Wildhorn combine to make this an arresting if problematic new musical.

Click here to read the full “Bonnie & Clyde” review.

WALL STREET JOURNAL

‘Bonnie & Clyde’ isn’t the worst musical to open on Broadway in the past decade. It isn’t even the worst Frank Wildhorn musical to open on Broadway in the past decade. (That would be “Dracula.”) It is, however, quite sufficiently bad enough to qualify for the finals of this year’s What-Were-They-Thinking Prize. Why would anyone not obviously deranged put money into a show with music by a composer whose last three Broadway outings tanked? And who thought it was a good idea to write a commodity musical whose title gives the impression that “Bonnie & Clyde” is based (even though it isn’t) on a 44-year-old movie that is no longer well remembered save by upper-middle-age baby boomers? Nor have Mr. Wildhorn and his feckless collaborators managed to beat these long odds: “Bonnie & Clyde” is so enervatingly bland and insipid that you’ll leave the theater asking yourself why you ever liked musicals in the first place.

Click here to read the full “Bonnie & Clyde” review.

NEWSDAY

There should be — and I’m guessing there will be — a place on Broadway this season for “Bonnie & Clyde.” Certainly, Arthur Penn’s 1967 film masterwork of violence and gorgeous outlaws does not cry out to be a musical. And, if it did, vanilla-pop composer Frank Wildhorn would not appear on most lists of feasible adapters.

Click here to read the full “Bonnie & Clyde” review.

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3 Comments»

  Chris wrote @

I am perplexed. Having attended Broadway shows for years I thought I had discerning taste. I remember Gwen Verdon in “Sweet Charity” (with a nod to Helen Gallagher), Rosemary Harris , Eva LeGallienne, and Ellis Rabb in “The Royal Family”, Angela Lansbury and Len Cariou in “Sweeny Todd”, Meryl Streep and Christopher Lloyd in “Happy End” (with a nod to Liz Sheridan), Julie Harris in “The Belle of Amherst”, Harvey Fierstein in “Hairspray”, Christopher Reeve and Swoosie Kurtz in “The Fifth of July”, Robert Duvall in “American Buffalo”, Yul Brynner in “The KIng and I”, William Daniels and John Cullum in “1776”, Sarah Jessica Parker in “Annie”, and Frank Langella in “Dracula” – I will now remember Laura Osnes and Jeremy Jordan in “Bonnie and Clyde” – all critics finding fault either lack credibility – or I have no taste. See this show!

  marisa wrote @

I recently saw the show and liked it a lot. I thought the music was very good as well as the actors. I have never seen the movie “Bonnie and Clyde” and have limited knowledge of the two, so I cannot compare the musical to any of it. Maybe that’s a good thing. I just read the show closed Dec 30 which I found quite sad. I often think critics are too harsh in which they judge certain shows on Broadway.
I was brought up going to the theater at a very young age, I see countless shows every year, and I also critique them for an online publication. I know I have good taste. So do you. It’s a shame others don’t. Someone once said “Critics are people who couldn’t make it as real writers.” Oh yeah, that was me. Remember, any idiot can give their opinion.

-M

  For The Love of Broadway wrote @

I am still planning on seeing this show. I read the reviews on Friday, which gave me pause, but Ive heard word of mouth about this show is that its actually quite good. A few friends saw it on previews. I tend to take reviews with a grain of salt, in that they usually miss what the public sees. I feel like critics don’t appreciate originality or straying from the Broadway norm.


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