why did the critics hate BONNIE & CLYDE?! | review roundup of the new west end musical

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OHMYGOD HEY!
This week has seen fans of the musical BONNIE & CLYDE distraught over a slew of 2* reviews that the show received from several major publications. These criticisms were at odds with the many bloggers and vloggers who were also in attendance at the show's press performance earlier this week, and this prompts an interesting discussion...
The show currently stars Jordan Luke Gage as Clyde and Frances Mayli McCann as Bonnie, with Jodie Steele, George Maguire, Dom Hartley Harris and Cleve September also featured in the cast.
Check out today's review roundup video to hear what various critics thought of the show and my analysis of why there was such a divide between the print journalists and bloggers...
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#theatre #westend #bonnieandclyde

[@daveatron_]

tbh my reason for seeing a show is pretty much different every time. I saw Back to the Future bc i love the film, I saw Newsies for the dancing, I saw Operation Mincemeat bc of the ridiculously good reviews, I saw &Juliet for the queer rep, I saw Mary Poppins bc it was closing, I saw Tina bc I got a £15 ticket 😉😉

[@langleymneely]

I’m just grateful this show isn’t trying to “update” the Bonnie & Clyde story by making them fugitive social media influencers on tiktok or some other awful Boomer “Hello fellow kids” cringeworthy attempt at “relating” to the “youths”!? Now watch the very second I write this Mickey is going to say that’s exactly how the show is! Lol😜

[@jessredman9439]

Watched this show 2 days ago (the final preview) as an avid fan of both the og broadway album and many of the cast. However, the friend who accompanied me had never listened to the album and barely knew the story. We both absolutely loved it and I for one will definitely be back. I was so disappointed to read the reviews as they just didn’t give any justice to the incredible show I still maintain I watched. In fact, it had me doubting my own opinions slightly and warning friends and family that the reviews didn’t reflect the amazing time I’d had. In this cost of living crisis, especially as theatre ticket prices continue to rise, Ive been very hesitant to book tickets for shows recently, and have possibly paid more attention to the opinions of reviewers than I should have, but now seeing how much our opinions have differed on this show in particular will definitely change this.

[@TheTradge]

This is my problem with theatre critics, they don't seem to be able to distinguish between traditional theatre and musical theatre, they aren't one and the same, and I feel treating a musical in the same way you would treat a play is short-sighted and lazy, we need more people reviewing who are better suited to reviewing musical theatre specifically, either that or update existing critics on the criteria on which they judge a musical, because at the moment they've got it all backwards

[@BauerandBagwell]

Where musicals are concerned, I often go for neither the score nor the script- Before seeing a musical for the first time, I try and go into it cold- I often deliberately don’t listen to the cast recording until after and will often have like a one sentence synopsis worth of information on the script. I like going to the theatre and being surprised… and then go back for a repeat viewing or two!

[@mwmheps]

Same here!

[@jurney3478]

Yeah. I don't generally like listening to cast recordings. I went into Next to Normal cold and was so grateful I did. I was genuinely shocked by the 1st act "twist".

[@whoviangirl3878]

same!

[@chuckoneill2023]

That being said, how do you choose which shows to see? By the performers? By the reviews? I'm curious....

[@ey8767]

Same!

[@ErinLovegood73]

To me, the score is always most important. The book helps but without a great score, along with a talented cast, it might as well be a straight play.

[@benjaminmcelroy6894]

As much as it hurts to say I think score weights more for a musical. A musical with a weak book can still be very captivating. Cabaret comes to mind. The book has parts that need work (even after all the rewrites they have done) with some highlights. The last scene with Cliff and Sally, Cliffs last monologue, Fraulein Schinders last monologue is also great. But it has parts that are weak and drag. Meanwhile Billy Elliott had a surprisingly great book but a score that has so many duds making the show at times such a slog to get through.

[@andyhaochizhang]

I wouldn't call the modern Cabaret scripts weak in the context of musicals, since there are so many high profile musicals that are quite devoid of content (or even send questionable messages) when the music is stripped away.

[@mtfan3457]

I go for both song and story, if i don't like either the songs or story line i won't go and see it

[@PhimbleG-d]

I loved it. It’s fun, it’s a bop. The book is good. Not everything has to be Six or Hamilton 😃

[@rburns5495]

Really pleased you’ve made this video. It demonstrates all the reasons why I ignore professional/msm theatre reviews these days. I don’t even bother reading them. I say this as a mature theatre goer who attends a vast number of shows each year. There is a reason why people have moved to online media and bloggers. .. My fave ever shows are Les Mis, Hamilton & Bonnie and Clyde.. I couldn’t care less what the critics think. I love the score & the performances and while I very much appreciate a big show, I appreciate a small production too!

[@TheTradge]

For me the score and songs are a huge contributing factor, there's a reason it's called "musical" theatre, the reason I fell in love with Hadestown was primarily because I adored the cast recording, I think the music is stunning and beautifully crafted, on top of it being a gorgeous reinterpretation of the original Greek myth. Bonnie and Clyde is the same for me, it's one of the few cast albums where I literally don't skip a single song, and it's a regular feature of my drive to work, so yes it's safe to say a good score is a massive contributing factor for me enjoying a musical. This is why I'm not a fan of Lloyd Webber, I find his music incredibly dull and simplistic, not to mention he plagiarises a LOT. I watched Phantom on broadway last year, it was impressive in terms of its scale, set, costumes, etc, but the narrative and score I just found extremely boring and it didn't really "grab" me in the same way shows like Hadestown, Hamilton, Billy Elliot, Miss Saigon, etc did.

[@helzbelle13]

Saw this show last night & it was every bit as amazing as I knew it would be! Slight changes to the Broadway version I already knew & loved, but the West End cast & crew did an amazing job and deserved that standing ovation they got!

[@overlydramaticpanda]

For me, I generally go to see plays based on the book/a synopsis and musicals based on the score/cast recording (if it's available), general information about the show, the cast, and anticipation of how they're going to stage things. With regards to Bonnie & Clyde, that critic who compared it to Six kind of demonstrated the real problem here: not every show has to be "the next big thing". Not every show is designed to be "the next big thing". And expecting every show to be "the next big thing" just because it has a similar trajectory as the previous "next big thing" ultimately does *far* more harm than good. Bonnie & Clyde tells the story it wants to tell - and I honestly can't think of a weaker criticism for the show than "they spoiled the ending right at the start"; like, have these people seriously never heard or seen Hamilton, Evita, Blood Brothers, Sunset Boulevard, Hadestown, The Last 5 Years, Merrily We Roll Along, Sweeney Todd, or Phantom..? Or even any of the myriad other musicals based on famous historical events, because...god forbid these critics ever have to review a production of Titanic if they're going to take issue with knowing the ending to the story from the start... And the fact is that B&C tells its story just fine. It doesn't idolise or demonise the couple, which is actually a fairly impressive feat, more examine the circumstances that led to their crime spree and its eventual downfall. Plus it has a fair range of styles in the music which is certainly more than can be said for quite a number of recent popular musicals. Some of the lyrics are a little silly but, as is said in the video, they're written in the voices of the characters - I'd be instantly taken out of things if the characters all sang lyrics that were filled with words they wouldn't know or use just because the lyricist wanted to sound smart. And besides that, I've never come across a musical that didn't have one or two dodgy lyrics in there somewhere, even Sondheim shows. Bottom line, the show does what it wants to and it sounds like this production does what it wants to as well. It's every critic's prerogative to like or dislike the end product, of course, but some of these two-star "news-site" reviews read to me as though the critic in question went in with the assumption they weren't going to like what they saw or heard...

[@SMF24601]

I would say that for me to thoroughly enjoy a musical, both the score and the book need to be strong. At the same time, I would also say that I am far more forgiving of a weak book if I enjoy the score than the other way around.

[@lene_m.r7778]

Honestly, when I first heard about Bonnie & Clyde the musical and hearing that it only ran on Broadway for a month, I wasn’t even that surprised. The American theatre market seems to hate Frank Wildhorns work. Pretty much all of his musicals have been unpopular during their, mostly brief, Broadway runs and almost never get revivals. The funny thing is, in Germany (my home country) his musicals are wildly popular(Especially Dracula and Jekyll and Hyde, but Bonnie & Clyde as well) and there is a guarantee that at least one of his musicals is running somewhere at any given time.

[@IvyroseGullwhacker]

Okay I'm just seeing this comment and now I'm praying for a German production. My best friend lives in Hamburg and I've been so pleased by what is being produced there!

[@jscho8674]

It's odd, isn't it? The way New York audiences hate Wildhorn shows is very confusing to me. I saw the very first production of "Jekyll and Hyde" at the Alley Theater in Houston. It starred Chuck Wagner and Linda Eder. I always thought they should have stuck with Chuck in the lead, and should not have changed the show so much between that production, and then the later pre-Boradway Houston production that starred Robert Cuccuioli (sp?) And Linda again. Robert couldn't sing the full role like Chuck did, and they took a ton of good songs out or reworked them. The Anthony Warlow concept album is closer to the original Alley Theater production, but even it wasn't as good. It's such a shame. Wildhorn later premiered his "Svengali" at the Alley too, which was great but never went anywhere, and "Civil War", which was sooooo good but didn't connect with audiences in New York. Wildhorn really is talented, but I think he is wrapped up with the wrong team. The wrong producers. **sigh**

[@KassMcCormack]

I live in California (about a 15-45 minute drive from the Pantages, depending on traffic) and as much as I would love to be able to book tickets based on just the story alone, theater tickets out here are expensive (it cast nearly $1,000 for four tickets to Jagged Little Pill and a little over $600 for four tickets to Beetlejuice) and we only have maybe a month if we're lucky to see a show. Usually, the only thing of a show I've had time to go over before deciding if I want to see it is the cast album because it's the most readily accessible. I also have auditory sensory issues so an issue with the content of the plot is a lot easier for me to overlook or go in blind for than something like the score or songs so I don't wind up accidentally having an overload and shutting down. All it would take is one noise at just the right frequency and suddenly I'm non-verbal and twitching like a tweaker so knowing what to expect in that regard and being able to plan accordingly is the only way I can go to the theatre. And the only time I ever check reviews is for that type of warning and for things like flashing lights that could also mess with some of my sensory issues if I don't know going in. I already know I'm not going to like the same stuff a stuffy newspaper critic would like so it would be pointless to even look.

[@davesmith5470]

Love that you dissect other reviewers and critics reviews, it's one of the wonderful things about the way social media has taken away the professional newspaper critic whose power to kill a show has been dramatically diluted. Sunset Boulevard also famously starts at the end, and then back tracks - nothing wrong with that device. I'd love to see this show now having listened to you, to make my own mind up. I book shows for all sorts of reason, the 'buzz' going around a great show, the writers (I'll go see everything ALW does for example), the artists, the book, reviews like this....a whole mix of things. I can't play Chess but still went to see it and now seen it many times and it's one of my top ten faves. Love your articulation and perspective MickeyJo - such thoughtful thorough analysis.

[@paulamusik2509]

I actually love the book of Bonnie and Clyde. To me the book is what draws me into a show and the music is what keeps me there and resonates with me afterwardsy if that makes sense. I can like a musical because of the music but I love a musical because of the book and to me Bonnie and Clyde is the same case. I really like the works of Ivan Menchell. I like his writing style and I think he is really good at making very difficult topics easily accessible in the short amount of time a musical lasts. I like the narrative of his Bonnie and Clyde and how these two characters stumble further and further into catastrophe fueled by their background and the exploration of their fame and popularity despite their terrible acts of crime. It doesn't explore every aspect of the topics it tackles but it is still a really rounded show and the point it makes is very clear while still remaining morally ambiguous and letting you decide enough on your own. As for the question of how much I let affect reviews my decision to see a show of not: I think I read reviews solely out of curiosity but I would never let them affect my decision to see a show. To me what I know of the show itself before matter much more. If the performances, if the music, if the plot, interests me, I will go even if the reviews are terrible.

[@rainbowpearlvlogsandanimations]

I haven’t seen this particular version of the show, but I was in a small, local production of Bonnie and Clyde last year. A couple of the performers who were in the production I was in did get the chance to see it on the West End, and of course, they absolutely adored it. Seeing the show get panned by critics like this, despite its positive audience reception, and seeing its lack of attention at the Oliviers, I’ll admit is quite heartbreaking. This is not only because I feel a tinge of nostalgia for that small production when I hear of it, but also because I think its musical style is not often seen in modern musical theatre, and though the book isn’t the greatest in the world, it’s certainly not terrible.

[@mwmheps]

Very interesting discussion as always Mickey Jo! While I generally don't go to a show I haven't seen for either the book or the score (usually just because I love seeing as many different musicals as I can and sometimes because of who's in the cast or creative team). In terms of reviews, negative ones wouldn't generally be enough to put me off seeing a show unless maybe I wasn't too excited about it in the first place and it ends up being inconvenient to catch it - I try and avoid them as well until I've seen it. A positive review can definitely pique my interest though especially from someone I trust that I'm often quite aligned to like yourself (as always I'm grateful you've led me to catch shows I've absolutely loved like Ride and 42 Balloons!). In terms of what keeps me coming back to a show I've seen though it's usually going to be the score and the performances rather than the book - of course the ideal is that it all comes together but it's the score and the thrill of live music that makes you want to relive the live show again in my experience.

[@KtSnow981]

I saw it when it was at the Arts Theatre last year with an American friend who knew it inside out - I hadn’t heard a single song from it and had no preconceptions. I thought the book was fine but the songs are outstanding and all the performers were phenomenal, I’m taking three friends to see it again in a couple weeks time and I can’t wait! The score is always what draws me to a show, the narrative being strong is obviously a plus but it’s not a complete make or break to me. And I just go and see whatever intrigues me regardless of reviews.

[@Upndouin]

Same here. I had no idea who Bonnie & Clyde were. I loved the musical so much when it was at the Arts that I went again the same week 😂 - cannot wait to see it again at the Garrick

[@langleymneely]

Im far more interested in and care about the script and book. The music is always very important but for me a show’s quality and how it hits me comes down to how well a show threads the needle and connects the book to the music and performances.

[@rodfine6039]

Hi Mickey Jo, thanks for your review: thoughtful, considered and articulate as always. Regarding your general questions at the start: do I choose based on narrative or score? For me, it varies - it may be any combination of the story, composer, performers, reviews, buzz. I don't generally read reviews beforehand, I tend to read them afterwards. The relative importance of songs versus narrative? The narrative is important to me, but it doesn't have to be great; it can be quite thin and the show can still be great if the songs and/or dance are outstanding. I watched Bonnie and Clyde a couple of days ago, not knowing the musical at all, though I am moderately familiar with the factual history. I agree the performances were all very good, and I did enjoy the evening: none of the songs totally grabbed me on a single hearing, but they were fine, and I dare say some may grow on me over time. No problem starting with the death scene, but if you do that, you have to bring the story back to the point (cf. Hamilton, Evita) - when it ended, I was surprised and a bit disappointed. "Wait, is that it? Oh." But I felt the show seriously failed in its depiciton of the main characters. Obviously there are huge challenges in sympathetically presenting characters who have committed monstrous crimes, and piece does a good job in showing just how wretched their lives were, and how little they had to lose; I felt they came across as romantics who never had a chance, and who made some bad choices. I think that's dishonest. Bonnie and Clyde and their gang were mass murderers. The show didn't give nearly enough weight to the grief they caused: for example, a grocery clerk called Doyle Johnson tried to stop him stealing his car, and was shot dead (actually by another member of the gang in this case), leaving a young wife and infant son. And according to some accounts at least, Bonnie and Clyde actively enjoyed the violence of their criminal lives. That doesn't mean they're not a suitable subject for a musical. But the romanticised depicition leaves the audience rooting for them - pretty much unequivocally - and it shouldn't. The murders were glossed over, the damage they did and the grief they caused not mentioned. How about including a song from Doyle Johnson's widow to add some balance - how would she get through her grief, and raise a child alone? Any story of Bonnie and Clyde should be uncomfortable to see or hear; both in what they did, and in how The American Dream failed them. I felt that the musical, in its efforts to humanise them, downplayed the harm they did; ironically romanticising them just as the newspapers of their day did. Which brings us back to the relative importance of songs versus the narrative. As I said, the narrative doesn't have to be great; but if you're telling the story of people who existed, it has to be faithful to their history, allowing for some artistic licence. I think Bonnie and Clyde failed in that; I found it deceitful. To me, and in this specific case, it presents a obstacle I can't get over. I'd still give it 3 stars based on the songs and the performances, though.

[@russellmilligan9520]

As someone who sees mainly touring productions here in America, the way I pick a show to go and see vary depending on the show. I don’t really rely on reviews unless it’s a show that has a lot of buzz and I want to look into what others have said about it. Aside from that I’m someone who mainly goes for the story but there are some shows I go to for the score, mainly shows that are known for its score like Le Miserable or Jukebox shows that use music by other artists like Moulin Rouge. For me, if the script and plot aren’t interesting to me, then it is less likely I will want to see it. There are some occasions that I will get tickets just to see a show even if I’m unsure if I’ll like it, but it’s all about plot and script for me.

[@blotcho84]

Just watched your review, it's interesting to see what the other critics thought! When looking for new shows I am always very interested in the book of the musical first. I do always preview at least some of the score beforehand--I don't go into shows *completely* blind, but it's nice to be surprised by the music too.

[@nataliecarter80]

Loved it! I saw it at the arts and Garrick more recently. I liked it more at the arts as I think the minimal staging suited a smaller stage but it’s still amazing and vocally everyone is flawless!

[@beatricedunnavan4576]

Good question. I do for the score. Especially since the score is often featured in promos/behind the scenes clips. The book alone doesn't tell me anything about the quality of the production but the score does.

[@Ryan_P]

I generally don’t know any of the songs from a show, so I’m generally booking based off of the synopsis or reviews from people like you.

[@BellePullman]

Given the proliferation of Jukebox musicals, it's clear that "book" is low priority for the public! (not that jukebox shows can't have a great book, but people are buying tickets for the familiar score). I read reviews for the details shared rather than the reviewer's opinion. Some professional reviews feel more like teachers' reports than opinions - as if they're instructing the director and production team rather than informing the public on what the show's like - frustrated Dramaturgs? I completely agree that the reviewers are judging on Play criteria - mentioning the musical elements but they don't seem to influence the score. Perhaps reviewers need to specialise? Musicals reviewed by people who appreciate the complexities of story-telling through music and dance when combined with a book? If the music, dance, and vocals are irrelevant to your opinion, maybe musicals aren't your cup of tea?

[@danjon8799]

Really interesting video here and I think its a really interesting observation on asking what makes us as theatre goers rave about a show and what we base it on. If you asked me this question about ten years by a mile it would have been the score and being able to hear that score live would be key for me (Growing up shows like Phantom, The Producers, Witches of Eastwick were shows I would regularly listen to on repeat but I was also that person who when I was on the way to see the show I would listen to the cast recording of that show I was seeing and in a weird way that kind of spoiled my experience as a theatre goer because there weren't as many big surprises as there were if I went in blind). This kind of goes onto my point that over the past ten years my thinking on accessing musicals have changed and especially brand new musicals like Bonnie and Clyde. I think the reason why is because I remember once having a conversation when I went to see a show with someone and I remember they said "If you're solely wanting to go just to listen to songs, why spend 60 quid to see a show and instead buy a cast recording?" and that was what struck me because I know if I would go see Bonnie and Clyde it wouldn't be to hear JLG sing "Raise A Little Hell" but to see the show and actually react to the story. So for me I go to the theatre for that. Personally I'm not as surprised though with the less than favourable reviews of B&C as I've never really been a fan of Wildhorn (I've always referred to his shows as "the curse of Wildhorn") as the issue is he relies solely on one standout song from his musicals (ie. J&H - This is the Moment, Scarlet Pimpernel - Into the Fire, Wonderland - I Will Prevail) and his songs but at a sacrifice the books are extremely weak and to the extent where you genuinely wonder why he is still working today when his books are truly poor (extremely one dimensional characters, lots of poor tropes and moments where they are meant to be serious actually come across as ridiculous). Which is why I am not surprised that B&C has faltered the same fate.

[@AnnieC64]

I am a HUGE fan of Bonnie and Clyde - best to get that out there first! I would say that I generally go for the score rather than the script but both have some influence. In this case, I knew the song Raise a Little Hell as my son sang it for drama school auditions, but we first went to see the concert version as Jeremy Jordan fans. Going to see the show at the Arts was subsequently a no-brainer and at that point we fell in love with Jordan and the rest of the cast resulting in many repeat visits! The new version at the Garrick is a serious upgrade and I have my second visit on Monday 🙄. Regarding whether I take note of reviews, I would say yes to a degree. Your review of Sky’s Edge lead me to see it and I am so glad that I did, but for a more established show it would almost always be about the score and/or the cast.

[@AnnieC64]

⭐️⭐️⭐️⭐️⭐️

[@brittanyfischer1786]

You pose an interesting question because I do care about the plot and really enjoy shows with a good plot, but at the end of the day, I don't think I have ever enjoyed a show with a good plot and bad music whereas good music and a bad plot can still be fun.

[@KikeNavarrete68]

A musical with a bad book is just a concert

[@carriew5106]

I go to a lot of plays, so the book is pretty important to me, but generally I am more interested by who is in it or involved. For example I went to see To Kill a Mockingbird because I love Sorkin, not because I'm a fan of the book, and I wasn't disappointed. But it is heavy on the Sorkinism and that isn't for everyone. I went to see Betrayal when it was on despite not really liking Pinter, but really wanting to see if Charlie Cox was good (he was excellent, as was Hiddlestone and Ashton). I also tend to gravitate to subjects/plots which interest me. With musicals I will usually try to listen to some of the music first, but I'm more inclined to wait and see how they settle in. And listen to word of mouth from colleague's/friends who might have already seen it and recommend. I rarely bother with reviews unless I'm undecided and then I go to reviewers who I think are on a similar wave length to me. I'm not someone who is ever likely to read the Times so it's unlikely we enjoy the same things.

[@thecatstolemyphone688]

For me I am more likely to forgive story issues if the music is strong because I can connect emotionally with the characters. I will rank a show higher though, if the book is also strong and doesnt depend on the music to do all the heavy lifting. Could a musical have the music taken out and presented as a play? If not, book might need some work. It's the same thing as listening to a cast recording without any other context. I might not get every nuance but if I can follow a rough plotline with just the music, I'm intrigued and more likely to check it out. To me, you have to consider book and music together and how well they balance and play off of one another. If I had to choose between the two it would be music though. I enjoy a good play now and then but music is what keeps me coming back for more.

[@drkarner]

Definitely the score is what draws me to buy tickets for a show. I will see anything by Wildhorn because his music is beautiful and he selects lyricists who are able to tell the story. You are SO right that the songs are what add to the script, hence the word musical!!

[@Pianoslave1]

It’s usually hearing a song or two from the musical that will interest me in seeing it. I feel like a weak book can be saved by great music but if the opposite won’t work for me

[@laurenjcoates]

It's so interesting, as a critic myself, to listen to you analyze/break down reviews-it's not often we see folks criticizing critics, so props to you for even having the foresight and knowledge to put together videos like this! I guess what I would say in defense of theatre critics in regards to your frustrations with their lack of acknowledgment of the book is that, in many cases, a publication's theatre critic pulls double duty for plays and musicals, and most writers tend to come from a literary/English background. In that sense, many theatre critics simply don't have the in-depth knowledge/terminology of music and music theory to properly address/critique those elements of musicals to the level that you seem to want from them. On the one hand, I definitley agree that their lack of acnolwegment of the music is frustrating, but at the same time, I think it would be disingenuous and not fair to the musicals if we expect critics with backgrounds in plays, literature, and English to be expected to parse through the minutiae of a musical's score when they don't have that education or knowledge. You also touched on the fact that they seem to so heavily emphasize the book and that points of a lack of familiarity with the show itself-I agree that it's frustrating how little critics seem to understand that performances/direction tend to matter more than a book when reviewing a musical, especially one that's simply being revived as opposed to an original piece. There's only so much a show can do to the original book, so to judge a production harshly based on a source material they don't have the capacity to significantly alter is unfair. BUT, at the same time, it's a critics' job to provide their opinion so it can inform general audiences who are considering seeing the show: so in that sense, I think that critics not being familiar with the musical isn'tr really something they can be faulted for, because many of their readers/theatregoers won't be familiar with it either. Like I said, thanks so much for putting so much time, effort, and care into these videos-they're not just interesting to me, but they also help me re-evaluate my own writing as a critic.

[@loredosol]

Shocked about the mixed reviews, (went on Friday and loved it). For me it depends on the show but mostly its about the songs along with the performances however I feel the story is just as important too (when I went to see Bat out of hell I absolutely loved the score however I though the script was poor which overall effected my enjoyment of the show). Regarding reviews if its a big named show or a show I really want to see I don't go by reviews however for the less known or new shows (or I'm uncertain on a show) then I do go by reviews. But just like films/books theatre is a personal choice, something that has poor reviews may be enjoyed by the audiences and something with positive reviews may be hated by audiences.

[@micablackwell9095]

I generally avoid listening to cast recordings or looking up shows so I can go in with a fresh set of eyes, but I'll normally be intrigued by its premise first and score second.

[@victoriamaisey2179]

Weird, I've kind of changed my opinion in the last few minutes....was absolutely gonna say score and though it is still the most important thing to me, but just remembered I saw The Commitments at my local theatre recently which had so many great vocal performances but there was minimal story and I was bored to tears. Has really got me thinking...maybe 70/30 then. I will always go to a musical over a play because I go to be transported by the music.

[@TheWiseGrif]

If i cared more about the book than the score, i'd go see plays, but music is what draws me in, and even a flimsy plot (or no real plot) won't deter me from seeing a musical if I have heard clips and snippets and enjoy the music and performances...it's why Six is such a polarizing show; because sure, it's more of a concert than a proper musical, but dammit if it isn't one of the catchiest and fun shows. And if the show happens to have a fantastic book AND score (like those who win all the top awards, and even the Pulitzer for Drama), they're some of my favorite shows because they have EVERYTHING, great music, riveting plot, killer performances, etc

[@pkminpkmon]

I tend to book musicals by the score more, and also if it has actors I’ve seen live and love!

[@Zottie]

For shows that are totally new to me, I usually book shows based on how much their premise engages me, so in that way i suppose it is the narrative and I hope the music will support it. However, some I will hear music from when its on broadway etc, and so occasionally its the music that hooks me e.g. Hamilton

[@booksvsmovies]

As someone who can't afford to see shows often but has easy access to cast recordings thoes are what stay with me most about a show over time. A great example for me is Hairspray. Which is a story whose white savior narrative I do find problematic. But I love in spite of that fact because I connect so much to its score

[@rossp1467]

Having seen the two London productions, do you think that the difference in the sizes of the theaters impacted intimacy of the two productions? I also think critics have a general tendency to blame a show's failure more the book than they do the music IMHO.

[@olivethunderbird]

OMG Hey! I’ve only seen Bonnie & Clyde as a local production here in the States. Absolutely loved it so much! And I will say I definitely am more in it for the music and performance aspect then a perfect book

[@PS-DLMA]

How do they compare with book/score criticism from the broadway reviews?

[@IloveHeartlandX]

The music is definitely the most important thing for me in any musical-I'll never really remember the not sung parts so the book is very much secondary to me. Having said that, I haven't always heard the music before I see the show: I think Hamilton was the first time I'd listened to a full cast recording (several times) before going to see it. Wicked I'd heard Defying Gravity and Popular and that's it. Others I've seen the film first and become familiar with the songs that way (Hairspray, Chicago, Grease, Mamma Mia!, The Last Five Years). Or I'll just hear one song and that will have me hooked (like Sara Bareilles singing She Used To Be Mine got me into Waitress). I deliberately listened to the cast recording of Moulin Rouge before it came to London because I'm obsessed with the film and wanted to see what they'd done with the score for the stage, and I was a little concerned about some of the arrangements for my favourite numbers from the movie (Elephant Love Medley and El Tango De Roxanne) but thankfully they were much better seen with the full staging than me just listening! In terms of going to see shows where there's no cast recording, then the plot has to intrigue me in order to book tickets but the music will still be what I remember most afterward!

[@JeaniusIsMe]

I try to go in blind to most new musicals, and don’t usually listen to a cast album before booking tickets. Reviews are the most important piece for me (I know which critics tend to have similar tastes to mine and listen to their thoughts, plus, full disclosure, I’m a TV critic, so I trust reviews a bit more than the average person), but character and narrative arc are the second. In a perfect world, the music should complement the book in such a way that they work hand in hand and you can’t fully separate them.

[@Nikki-mx5my]

Interesting, I had no idea this show was on Broadway years ago. By the way, I have been meaning to tell you that your song at the end is super catchy. I find myself humming along with it.

[@sophiea.8366]

For me, I book and enjoy a musical mainly for the music. I am much more a musical lover than plays and its always the songs and the quality of their delivery that I remember and love.

[@ontheclouds0123]

Personally, I do think that the score generally is more important as it is essentially, a musical. Before watching a show, I try to check if there are original cast recordings, or press call video clips (they usually release a lot of them here in Korea), and more often than not, my interest in a musical dwindles if I don't like the musical numbers. I think that generally, a weak script may be compensated by a good score. For example, Frank Wildhorn's scores are hugely popular in Korea (i.e. Jekyll and Hyde, Dracula, Death Note just to name a few) that he was commissioned to compose a score for an original Korean musical, The Man Who Laughs, based on Victor Hugo's musical of the same name. Coupled with highly popular musical actors, it became a huge success winning Best Musical in six different musical awards shows domestically. It can also be said that a part of the success of the show can be attributed to the score by Wildhorn. However, it's interesting to see how there are audiences who do not think the script is the best (personally I think that there are scenes in the show that are dragging), and that the story doesn't match the score. Nonetheless, audiences still consider the show as a show worth revisiting.

[@jurney3478]

I'm kinda mixed on why I book tickets. I guess most of the time it's because I've listened to some part of the score and took a liking to it. Six definitely comes to mind for that. I've also booked tickets based solely on the script. The ONLY reason I saw Tootsie was because that script was hyped to the moon and I was too curious to ignore (lived up to the hype. Bring on Shucked!). And sometimes I just wanna see the spectacle (BTTF).

[@evyn9978]

Thanks for the provocative review roundup. I haven’t seen B&C, but from your collected reviews, it sounds like print media were driven mad by their own hopeful (& disappointed) expectations. Easy to understand - there are multiple , compelling depths to plumb in the B&C story, & blood-splattered romance is far & away the least interesting angle. With that kind of bee in their bonnets, it was apparently hard fir the critics to give any weight to music or performances - not because they were bad, but because they weren’t burning holes in the critics’ brain cells. Those critics must have been on the brink of running screaming into the streets over their painful disappointment. But would it have been much different if they’d gone in anticipating a rare & magical score, only to find something pedestrian? They’ve reacted to what’s not there rather than to what IS there, while most audience members are reacting to the whole. Maybe-???

[@thosefroggyfolks2004]

When I see a show, I HAVE to know and love the music! There have been many times where I’ve seen a show before listening to the cast recording and my reaction would be “It was fine”. But then later, I would listen to the cast recording and fall in love with the show. Maybe it’s because I’m neurodivergent and have always struggled to gather the meaning behind a song until I’ve listened to it ten times (even top hits on the radio!). So the way I consume Musical theatre, the music COMES FIRST and then the book.

[@Filayevna]

I definitely put greater importance on a musical's score. I would say the same thing for the opera. If I do not care for the music/songs, it's not likely that I'm going to want to see it. People generally talk about the composer first and the librettist second, if at all. If the score hooks me in, I will generally be far more open to what the narrative drive can be, and will forgive the faults in a less than outstanding book. If I truly love a show, I'll often buy the libretto along with the cast recording and vocal selections anyway. Performance is everything because that is what truly conveys the story and the reason we go to the theater. I often find that particularly for print critics, there is a sick pleasure with writing a bad review, and indeed, I'm guessing they have way more fun tearing something down than giving constructive criticism/analysis. I'll read them to see what they thought of the performances, but give them very little weight when they are discussing any of the other aspects of a show. I'm curious. @MickeyJoTheatre, were you able to go to the workshop for Bonnie & Clyde at The Other Palace in 2017 with Jamie Muscato as Clyde and another Spring Awakening Alum, Evelyn Hoskins as Bonnie? If so, I would love to know what your thoughts were.

[@claire2088]

I wonder whether some of the critics are just slightly looisng the ability to appreciate the shows as an audience member? Like if I'm attending a show it's once or twice a year absolute max so I just want to be entertained, but if it's their second show of the day then what I would love on occasion would feel repetative if I'd seen that many. I think you get it alot with book reviewers as well, where they prize novelty and surprise over enjoyment because they're jsut borrrrreeeeeeedddddddddddd and want something new. It's a shame when an art form isn't valued for being entertaining, as if it's somehow 'worth' more if it's surprising and self referential and you need some background to even enjoy it

[@cedoniapeterson9239]

Edited to add: I might scan the first line or two of a review when deciding whether to see a show, but unless I see a major red flag I don't rely too much on them. I much prefer to check reviews after I see a show to hear about things I may have missed. There are several reasons I'll book a show, but usually it will be either because 1) I love the score, 2) I've heard great things or 3) I know very little about it, either positive or negative, but I can get cheap tix and it's fun to go in blind sometimes. I just saw Bonnie & Clyde a few days ago, knowing little about the outlaws OR the score, and I came out smiling and humming the songs! I can understand some of the criticisms of the book, but honestly the music was so good that I don't see how anyone could give the show only two stars.

[@meghanisapirate]

Definitely the score….but as someone who lives in NYC and sees a lot of shows in previews because the tickets are cheaper, that has changed a bit. More just what I’m interested in based on past projects I’ve enjoyed (and I usually care more about the creative team than the actors). Back when I lived 2 hours away from NYC & only saw around 3 or 4 broadway shows a year, it was 100% based on whatever cast recordings I connected with most.😊

[@HazzaLizzi]

Personally, I like to listen read a little synopsis (not a full one, to avoid spoilers) and then have a listen to the recording before getting a ticket. I don’t often read reviews first. This is because i feel sometimes it can cloud judgement. I want to make up my own mind. I might look at scores (for example, is it a 4star on average? Or most of the scores pretty low?). I won’t read full reviews until after. I like to compare my experience to the reviewer’s. :)

[@isabellarossi5431]

Usually the plot will stop me from seeing a show (if it seems boring or something) but the score helps me pick what to see (I like both plots but I will make sure to see the show with a better score, plus I'm more likely to go out to see it vs a bootleg)

[@martinpike1171]

SCORE is my most important factor for deciding on show likeness

[@thosefroggyfolks2004]

I’m curious how heavy an influence the cultural differences between the US and Britain are playing into these reviews. I’m no expert on Bonnie and Clyde (neither the musical or the movie or the people themselves) but what I have gathered through being born and raised in America, their story is very American.

[@thosefroggyfolks2004]

Especially when reviewers keep mentioning the social issues that led to who Bonnie and Clyde became. I think Americans are more forgiving of the lack of details because, well, we lived it. Yeah it’s been almost a hundred years but that doesn’t mean the trauma of the Great Depression magically disappeared.

[@sevensongs]

I don't have a chance to go read the play or research every aspect of the plot. (Heck, I live on in the Pacific NW of the US! My access to theatre is already limited!) The music is what I have access to, so that's what will dictate whether I'm interested in a show. PLENTY of musicals disappoint me story-wise, so they don't become my to shows and I won't bother with a repeat showing, but if I like the music, you'll at least get me once.

[@mattbonner5281]

Whoa did MickeyJo just reference me and our group at the first preview in the first minute or was their another group there??! 👀 👀

[@walkercountry2009]

When I lived in NYC, it was enormously about the performers and the performances.

[@therockerkriscentral]

I book more on a blend of both, if the music is digestible and the libretto is moderately stable a foundation for the score to “score”… it’s a two way street for me

[@lindakahler4799]

I was fortunate enough to see Jeremy Jordan and Laura Osnes in the original limited run years ago. Loved it

[@lindakahler4799]

BTW It was always meant as a limited run in NYC because a new show was coming to the Hershfeld. NYC critics hate Wildhorn because Jeckyl and Hyde was such a success making their reviews worthless

[@alexandrateasdale5776]

The ending….? Is shown at the beginning…it’s a seamless loop, very powerful, we already know what happens to them….

[@stephensmall-dq5dc]

I love this show,saw it at the arts,and going to the garrick tomorrow, as for shows I go when word of mouth is saying how good a show is ,and if I think the musical sounds good .

[@thedarkangel613]

i am definitely a narrative first person but what i do is listen to the cast recording (because they are normally the first things i can access) to get and idea of the story and if it is interesting. So its a cop out answer but its kind of both: its how the Music tells the story. imo the score ( the songs) is part of the script. so i should get some story from it

[@eliontheinternet3298]

I'm an American and I haven't heard anything about this show before. Something that really struck me about almost all of the reviews was the lack of knowledge about American history and culture (I don't know if that's quite the right word though). For example, the songs are described as 'bluegrass', 'country', and 'Western' which are all similar sounds but ones that I would consider distinct. Also, they talk about missing context for Bonnie and Clyde, but I feel like it's quite a well-known story (at least here). You said the show started on Broadway. I wonder if this is a symptom of more insulated critics being disconnected from more general background knowledge that the average theater-goer has?

[@KatieKruger8]

I will grab a ticket for the music. For me it’s the best indicator of tone to expect from a new show. But there is nothing that will kill a musical like a disjointed lazy book that is an afterthought for the tunes. I will regret a ticket if the songs are hosted in a lazy book

[@taylorleighrobinson9561]

I genuinely loved this performance! I’ve been a fan since I was 12 years old (so potentially biased) but I loved they stayed true to the score and honored a fabulous story of love, hate, crime, and the sadness of historical American society - thanks for giving an honest review (as ways!)

[@bunji_beans]

After some thought I'm pretty sure that for me, the plot is at least as important as the score, if not more. Then again, I'm one of those weirdos who generally has to like the lyrics of pop songs in order to really like them. There definitely needs to be a balance, but I think that's why I never really got into musicals like the Greatest Showman, why my favorite musical is Into the Woods, and why I like some musicals that have no business being as good as they are like Shrek the Musical and Spongebob the Musical.

[@daveford12]

The critics panned les miserables and look what happened with that one. Don’t be dependent on professional critics, bloggers, KZbin critics and influencers opinion to sway you from seeing or not seeing a show, if a show takes your fancy go and see with an open mind and form your own opinion. There’s a lot of great shows/plays past and present I would never have seen if I took notice of what the reviewers have said. Critics/reviewers are always disagreeing with each other but It’s your money paying for that ticket and even your most trusted reviewer can sell you a dud or steer you away from barnstormer.

[@langleymneely]

Granted my hypothesis on this probably dates the hell out of me (im 43) BUT Im curious how many of those mediocre reviews are consciously or sub consciously having a visceral reaction to the show not being on par with the violence of the original ‘67 film with Beatty & Dunaway? I know there are several generations above mine (actual Boomers, Gen X) that idolize and worship the seminal work of the legendary Arthur Penn, so I can imagine the specter of that film clouding the reviewers ability to take the musical in on it’s own merits?

[@jaybryant-green585]

I actually love this show! I've seen a production here in Little Rock, and have worn out the soundtrack. I grew up in Fort Smith/Van Buren Arkansas where Bonnie and Clyde had once been. My Dad recalled seeing the car they were killed in, not too long after they were gunned down. I saw it myself when I was young, and they brought it back to my hometown.

[@Penrev]

I personally need the book to be halfway decent and plausible with no major plot holes but lean towards score more to keep me interested.

[@operationlivetheatre]

For new shows, I book base on the potential of the premise of the story and go in completely blind. Even more established shows, I try to do the same so I’m not so influenced by what had been published.

[@cedgson91]

I think I see shows based on whether I would like the themes and content of the show. Usually see comfort shows. Being autistic it’s hard to see new things. Trying recently to see other plays and musicals this year but still a little cautious. I don’t potentially want to spend money on something I wouldn’t enjoy. Reviews help a little towards the decision making but then again it’s down to personal preference. Like I love Six but someone else may have negative opinions on it.

[@AdamPTrainz]

I like going for the score

[@fringelilyfringelily391]

I don't have enough money to pay for a dud, so I do take notice what critics say ... as for book or score, I want both to be strong if it's a book musical ... for a little gem like Assassins, which doesn't depend so much on the book, however, it's the score.

[@michaelmullan792]

I loved Bonnie and Clyde! I think its a fun dark little time

[@grodriguez7225]

I go to to Broadway musicals because I love the music‼️ Sometimes I’ll go to see a special guest star like Cathy Rigby in Peter Pan, but mostly I go for the music. When I went to see Hadestown I didn’t expect to see the exact same cast as on Broadway, I was to see a hard working cast that would make the experience all my own‼️

[@danielwinch2986]

I do not like to know about a score or book beforehand; if the theme or topic interests me I book.

[@hannahgreen8999]

I never used to pay attention to reviews, I had more disposable income and would take chances on things and make my own opinion. I've loved some shows that had terrible reviews and not enjoyed some that others raved about. Now I can't afford to see as many musicals so I don't want to spend a lot of money on something that may not be great so I do take a look at reviews but take them with a pinch of salt.

[@EmmaFiltness]

I lean more towards the score and songs

[@lonellfletcher]

I disagree about book; the structure and narrative are (or should be) the foundation of musicals. Without them, its just essentially a concert and if the transitions in and out of songs don't flow straight from the narrative, or if the tone of the dialogue and songless scenes are at odds with the tone and language of the songs, then everything all falls apart.

[@markjlabella8869]

Six has great songs. Not much on story / plot obviously - it’s essentially a concert but man is it amazing!

[@ZamTx1]

Why do I see musicals, and how do I decide which to see? Generally, I'll be familiar with the score via a cast recording. Depending on my reaction to that, I'll decide at which venue or level of production I'm willing to see it. Occasionally I'll go in cold, and that has had mixed results. It's not an exclusive reaction to going in cold, I've been sorely disappointed by known properties in my time. As others here have commented, the book and score need to be comparably good. A fantastic score paired with a noticeably weak book will disappoint me. It's rare to find one with a great book and weak score. Performances can sometimes elevate weak material, but i find the overall experience less satisfying. Most theatergoers are only going to see a [new] show once. (Revivals are a whole other issue, both for audiences and critics.) The show has a single chance to.make a first impression--on the audience and the critics. If critics are honest, they will share what they actually came away with from that single performance. Not that you do so in the video, but fans and theatre professionals tend to deride some critics as being prejudiced against (or for) a style, or an artist (cast or creative). What is less acknowledged are the prejudices of audiences--both casual, occasional theatergoers and the professional ones. We all have our tastes. There are shows I absolutely despise despite their commercial success and popularity, and some I adore that the masses ignore. Art and the appreciation of it is highly subjective.

[@LadyGreensleeves33]

As someone who genuinely loves Frank Wildhorn in general and has never understood why his shows get shit on, I am so confused why the one that has persisted popularity is still dragging this bizarre audience Vs critic dichotomy from the 90s into 2023. That being said, his shows are generally character driven Vs outside plot driven, and as Mickey pointed out - most of that is being put forward through the music. If people ignore the songs or try to look around their subject matter, then you are going to see absolutely nothing happening lol. As for what drives me to go see a musical - as a poor person in the US who often has to be very choosey what events I invest in tickets to, I typically choose based on an attraction and familiarity to the music or story. Significantly lowers the chances I might regret my choice, since I have confidence I will enjoy it.

[@bluelv]

I book for both. Nothing out on NY NY but the basic movie story line. Everyone listened to wicked before they saw it. Same with Putnam Spelling Bee and Ave Q.

[@Happyhogan]

Reviews would certainly prompt me to watch a show, but I also know who I trust and who I have relativity matching opinions too and therefore would trust their reviews. If loads of critics gave a show like 3 or below then i probably wouldn’t book in advance…. Food for thought 😂

[@beltingtokra]

For me, as someone living outside of London, my first introduction and connection to a show will be through thr cast recording. I used to get cast recordings from the library and follow along with the score. The script to me is secondary in deciding if I want to see a show. But I do enjoy cast recordings such as we will rock you which has exercpts of scenes. Bonnie and Clyde isn't a show that I would choose to see, I have heard of some of the songs, but I have no real connection to the story. That being said, the 2* reviews seem a bit harsh.

[@antonellamR2D2]

For me, music is the important bit BY FAR. Also, my English understanding was improved by listening to ALW musicals🎉

[@alexgreen871]

I usually go for the score rather than the book (I have a big preference for musicals over plays for this reason). I normally find my opinions align closer to vloggers/bloggers than mainstream critics generally (though not always). That said, while I do like the score for this show, I didn't particularly enjoy the show at the Arts, as I thought it was a bit dull and didn't enjoy one of the leading performances.

[@brianwaddingham]

Evita, Phantom, From Here to Eternity, Blood Brothers, Sunset Boulevard... all shows that use the " flash back" as a story telling technique - some of which are very highly regarded! Evita especially, and Eva Peron was hardly a saint herself!!

[@Clouden3]

I'm definitely a more narrative guy. I think the music can get me in the door, but your story still has to be compelling for me to really fall in love with it.

[@danielrobinson7350]

Generally more the score, but sometimes because I’m interested in the story (Come From Away and Amelie being two like that) and a good score can’t save a show for me, I’d just listen to cast recording then.