Book: Ivan Menchell
Music: Frank Wildhorn
Lyrics: Don Black
Director: Emily Susanne Lloyd
For those unfamiliar with Birmingham’s Old Joint Stock Theatre, it is a unique venue, tucked above the pub of the same name in a Grade II listed building. The intimate black box seats 95, making it hard to imagine fitting a full-blown musical with fourteen cast members and a live band into such a compact space.
However, tonight the theatre has been completely transformed. The audience is led onto the stage itself, flanked by two rows of seats on either side along a central performance strip with worn wooden flooring. Black walls are hidden beneath aged swathes of fabric, evoking the gritty industrial feel of a 1930s criminal hideout. A carefully crafted door frame at either end allows seamless entrances and exits. Set designer George P. Martin has created an immersive, atmospheric environment that pulls the audience into the shadowy underworld of the Great Depression with simple but effective design choices.
It sets the stage perfectly for a beautifully chilling opening sequence, as Bonnie Parker (India Lily Cooper) and Clyde Barrow (Samuel Murray) appear coated in blood and riddled with bullet holes, and walk slowly hand-in-hand down the centre of the stage. Then the lights flicker, gunshots sound, and the pair writhe in pain and shock, as they are violently gunned down by a barrage of police. Of course, the audience knows how this story ends before the musical has even begun.
Most people will at least recognise the names Bonnie and Clyde, the notorious outlaw couple who robbed banks in the Great Depression and died in a brutal shootout. The musical traces their journey from small-town nobodies to infamous criminals. Premiering in San Diego in 2009, it’s still a relatively recent show with music by Frank Wildhorn and lyrics by Don Black, it blends rockabilly, blues, and gospel, creating a fast-moving, bold piece that captures both the thrill and the tragedy of life on the run.
Twelve years before the prologue, we get a glimpse of the pair as young children in Picture Show, a lively Vaudeville-style number. Evie Pavlovs, as a Young Bonnie, fantasises about fame with warm vocals and a bright-eyed nature which charms the audience. In stark contrast, Beau Eaton is cold and confident as Young Clyde as he sings about his criminal idols, Al Capone and Billy the Kid, with unsettling intensity. When the infamous duo meet as young adults, Bonnie is a weary waitress in a West Texas diner still clinging to dreams of fame, while Clyde has just broken out of prison and is on the run. A chance roadside encounter changes their lives forever.
As Clyde Barrow, Samuel Murray gives the first impression of someone not quite grown up – charming, reckless, and a little naïve, but also clearly capable of real danger. Opposite him, India Lily Cooper is soft and sweet as the instantly lovestruck Bonnie Parker. Their chemistry is clear and at first surprisingly endearing, but grows toxic as time goes on. Cooper seamlessly transitions from an innocent young woman to Clyde’s gun-toting accomplice, soaking up the pair’s notoriety and media attraction, while Murray’s Clyde only gets more dangerous, and by the end of Act Two, he is no longer the impulsive, boyish charmer, but a hardened criminal willing to kill for what he wants. Both actors give standout performances, with strong acting and vocals to match. Murray brings grit and swagger to Raise a Little Hell, while Cooper’s Dyin’ Ain’t So Bad is a vocal highlight – haunting, heartfelt, and beautifully delivered.
Killian Thomas Lefevre and Faye Campbell bring much-needed warmth and humour as Buck Barrow and his wife Blanche, with their performance of You’re going back to jail a particular highlight. Lefevre brings warmth and humour to Buck, offering a contrast to Clyde’s growing darkness, while Campbell gives a touching performance as God-fearing Blanche, torn between her loyalty to her husband and her distaste for the criminal life he’s chosen. Their scenes together add heart to the story, grounding the chaos with moments of genuine love and affection. Campbell gets the chance to shine in the heart-wrenching duet You Love Who You Love alongside India Lily Cooper, creating one of the night’s most memorable moments. Their harmonies are stunning, and the emotional intensity they bring to the song makes it impossible to look away.
The supporting ensemble is outstanding, injecting humour, heart, and tension at every turn. Hannah Victoria as the Preacher, in particular, excels with her joyful and confident performance of God’s Arms Are Always Open. Musical director Ben Barrow and the fabulous off-stage band bring the score to life, keeping the energy dynamic throughout.
The choreography, by movement director Ellie Begley, is equally impressive – slick, and carefully crafted to make full use of the limited space. That said, the theatre’s layout does have its drawbacks. Sightlines are frustratingly limited in places, which occasionally lessens the impact of some of the show’s more poignant and visually striking moments. The overall direction by Emily Susanne Lloyd is superb, guiding the cast with flair, ensuring every scene, from high-energy heists to intimate duets, lands with maximum impact.
This careful attention to performance and staging makes the show’s darker moments hit even harder. The song Made in America with its gun-wielding policemen and outlaws, takes on a genuinely harrowing and poignant tone, particularly in the current climate. Scenes that might once have felt like a thrilling spectacle now carry an uncomfortable realism; the violence feels close to home, a stark reminder of the real-world consequences of guns and crime. The musical never shies away from showing the brutality of its protagonists, reinforcing the point that Bonnie and Clyde were criminals, not heroes.
Ultimately, The Old Joint Stock’s Bonnie and Clyde is a thrilling, immersive ride through the rise and fall of the world’s most infamous couple. With standout performances from Murray and Cooper, a brilliant supporting cast, impeccable choreography, and a live band that brings Wildhorn’s score to vivid life, the production delivers both spectacle and emotional weight. The only real drawbacks are occasional sound issues and limited sightlines in the intimate venue, which sometimes lessen the impact of key moments, but that is to be expected, given the ambition and scale of the production. Otherwise, it’s a tight, stylish, and memorable piece of theatre.
Runs until 31 October 2025
