by Madison LeFever

Musicals have become a cornerstone of joy for community theaters in small towns across the nation, including Bellingham. One such theatre company, Flooded Productions, aims to cultivate opportunities for actors, designers, and creatives by producing 'meaningful and exciting theatre,' says Alissa Flood, a producer with the company. Sunday, August 26th,  I attended the closing performance of Flooded’s Bonnie and Clyde, written by Frank Wildhorn (music), Don Black (lyrics), and Ivan Menchell (book). Rich with gospel, blues, and rock influences, it provides a gritty look into the dysfunctional relationship between the two infamous characters, exploring how they navigate the weight of societal expectations. Its release in 2009 proved to be deeply politically relevant, as America was navigating The Great Recession, increasing housing insecurity, and disproportionately affecting marginalized communities. 

Flooded Productions delivered a vocally robust and engaging performance. The cast’s strong vocals and energetic execution were impressive. Notable performances by Drew Winston as Clyde, Kenzie Seigel as Bonnie, Willow Rae as Blanche and Paul Henderson, the preacher. However, the production fell short in addressing some of the deeper themes of the story—namely, housing insecurity, isolation, domestic violence, suicidal ideation, and dysfunctional relationships. Alissa Flood, the director, emphasized a theme of youthful yearning, suggesting that despite their criminal activities, Bonnie and Clyde were essentially 'kids at the end of the day.' While this perspective is valid, it seemed to overshadow the more somber themes that led them to the turmoil they faced.

The production relied heavily on humor, physical intimacy, and a mockery of religion, which served the blind hope these characters leaned on, but it did not fully capture the weight of the societal pressures portrayed in the musical. With sequences of gospel music paired with choreo, it was clear  the writers wanted to showcase that religion brings people together and was simultaneously the downfall for Clyde, Marvin, Meave, and Bonnie. The two brothers, in and out of jail, have been searching for a purpose their whole life. However, the potential for exploring the capitalist social structures highlighted in the script was not fully realized. The audience cheered at the moments of physical intimacy, lines providing context to housing insecurity, and domestic violence were grazed over, and I wondered if a deeper engagement with these themes might have offered a more nuanced perspective on the characters’ actions, those being murder and robbery, and how said actions & pressures were meant to nod to their downfall. I walked away wondering what “people make mistakes” meant for this story. 

Ultimately, while the performance was entertaining, it left me questioning the choice of focusing primarily on the craving for exhilaration. The overarching theme of autonomy was evident, but the production’s portrayal seemed to drift towards chaotic evil, centering personal desire and a commitment to sensationalizing crime without regard for the well-being of others. This left me curious about how a more balanced approach might have enriched the audience’s understanding of Bonnie and Clyde's escapades and their relationship's relevance to today’s world or rather, how their relationship isn't a look into marginalized perspective, but rather a sensationalized and romanticized look into the couples history.