January is really living up to its reputation, isn’t it? Freezing, financially bereft, flooded by downpours of rain and gushes of doom and gloom pouring through the television. Burton itself seems to be complaining a lot too (for good enough reasons, I grant you): gargantuan potholes, general infrastructure, the concern that GP appointments are now mysterious incidents of myth and legend. Then there’s my local ‘friendly’ neighbourhood Facebook group that revolves around one particularly fine-honed ‘Karen’ bemoaning anything that doesn’t involve or concern her, and my bus is regularly twenty-three minutes late on a good day. So, on a frostbitten Tuesday evening, how wonderful is it to visit the Brewhouse – where everyone’s after just a little bit of what the Mellow Dramatics offer in abundance: a bloody good time.
I’m feeling very curious tonight, interest has pricked my ears and narrowed my beady little eyes. Like many, I’ve read about Bonnie and Clyde, seen the films and watched the documentaries, but ever since the musical first premiered on Broadway in 2011, I had to wonder how this sad story of two exceptionally young, bright, (though burdened and condemned) lovers could be translated into a bouncy musical. Clyde especially had a terrible time of it; growing up in the kind of extreme poverty that afforded neither walls nor roof, banged up in a depression era jail where he endured horrific incidents, and finally shot to death along with his beloved Bonnie following brief but steady careers as armed robbers, it’s the last story I’d begin to intertwine with rousing folk, deep blues and earthy gospel. But it works with a bang and thank you Mellow Dramatics for the delivery!
The story’s beginning with both protagonists in their youth, and we quickly learn where their wayward obsession with fame and fortune is rooted. The young Clyde (Fin Watson) and Bonnie (Emily Padmore-Flint) are a joy to watch and are doing a fabulous job in setting the backdrop for their story to unfold.
Now in the backseat and firmly enjoying the ride, the audience is with them every step of their short but eventful lives. We learn the complexities and reasons behind their choices, the harsh reality behind their cult status and their dedication to family and friends.
I always comment on the ensemble last. I don’t know why I do this – well, I suppose it’s natural isn’t it – but unfair here as it’s the ensemble cast that are the backbone, flesh and muscle of this piece. A small group with a lot of ground and characters to cover, their passion, talent and support is phenomenal. There in the good, bad and the ugly, they execute each number perfectly, skilfully weaving themselves into each scene. As the set design is rightfully sparse and modest (reflecting the austerity of the era) it’s the ensembles that denote each section and I’m sure Director, Helen Thrupp, is insanely proud of them.
Both leads (Brad Hambleton and Chloe Lang) have a lot to convey as their narrative communicates many milestones in their short timeline. Hambleton’s doing particularly well, confidently portraying Clyde as a charismatic, headstrong personality. Displaying good comic timing, he’s really giving his all – everything is straight from the gut and his commitment is paying off in droves. Lang’s energies as Bonnie Parker are a fine match for Hambleton’s.
Some ‘Dallas’ accents are having the tendency to trail off to the good sturdy Staffordshire ones I know and love, but they make it their own and it’s a reminder how hard this acting lark is!
Vital to mention to the wonderful costumes here; super authentic and detailed. I’m a massive fan of vintage cuts and florals, so I’m currently sat in my element feeling galvanised to trawl through ‘Vinted’ and get me some Bonnie attire.
Ultimately the Mellows just want you to have as much fun as they do and every one of them clearly adores what they do. Sold out performances are testament to their perseverance and emphasise their achievements. Well done again…again!!!
