Why Critics Are So Wrong about 'Heathers' and 'Bonnie and Clyde'

 by Tabitha Richardson

From belting a tune, dancing and acting, to set design and lighting, musical theatre has the unique power to wow anyone, and has done since the mid 1800’s. But there is a small minority of musicals that seem to divide opinions - that being the judgement of the critic vs the experience of the audience. Which is what I have come to discover when researching the contemporary musicals ‘Heathers’ and ‘Bonnie and Clyde’.

Being an active theatre fan myself, I have had the privilege of watching many shows in the West End and elsewhere, and I am not a stranger to keeping my ear close to the ground when there is a rumoured return of a show. So when I heard that the aforementioned shows were returning in the UK, I was rather ecstatic, and I, like any other ‘theatre kid’ , made the shows my entire personality for the following months (driving my parents mad in the process). Whilst doing so, I researched their past performances and read their reviews which, to my surprise, were far from complimentary.

When Heathers ( by Laurence O’keefe- Legally Blonde & Kevin Murphy) was first introduced to the West End at The Haymarket (2018), after a short lived spell off-Broadway, critics labelled it as a ‘glossy sanitisation of a cult film’ and ‘generic’. One  journalist from The Times even called it ‘atrocious’- needless to say it was subsequently snubbed by The Oliviers the following year. Which made it all the more surprising, when it went on to win best new musical in 2019 at the prestigious (publicly voted for) WhatsOnStage awards. One wonders how a show described as ‘grating’ could be received so warmly by the paying public but given the cold shoulder by the board at the Oliviers, which then led me to the question- why is there such a disparity?

I came to a similar conclusion with Bonnie & Clyde (music by Frank Wildhorn -known for Jekyll & Hyde and lyrics by the famous Don Black (best known for the Bond theme Diamonds Are Forever and the ALW musical Aspects Of Love). Both musicals have a lot of parallels to how they began; a short run in America, and numerous stop-start runs on the West End. That said, Heathers has had a turn of fortune since, with a stable run in an off West End theatre and now a national tour. Bonnie & Clyde, too, won Best New Musical at the WhatsOnStage awards and as you probably guessed- was hammered by critics and ignored by The Oliviers! Callously called ‘brainless’ by The Evening Standard, ‘trashy' and ‘dull’ by TimeOut, yet there never seems to be an empty seat in the house.

From what I can see, I believe this drastic split between an audience and critic’s opinion is simply caused by a completely different perspective or set of expectations. Audience members go into a show to enjoy themselves and a fun day out, to appreciate the spectacle in front of them- simply put ‘to get their money’s worth’. Whilst critics and reviewers will sit in a theatre (usually upon invitation) ears pricked, pens in hand, where they look for complex melodies and traditional, original story lines (rather overdone and mundane in my opinion). Musical theatre is constantly evolving but the critics don’t adapt their expectations with it. The spike in Jukebox musicals (& Juliette,  Moulin Rouge) or book/ movie adaptations (Heathers, Frozen) have proven this. I do not believe reusing elements of songs or stories should be frowned on, in fact it’s rather smart when you know what works well and what people want to see. As someone from the Evening Standard describing Bonnie and Clyde put it ‘[there were] cliché’s abound’.However, as a paying audience member, I see no problems with this- who, besides the snobs, doesn't love a good cliche?

With both shows carrying the themes of murder/suicide mixed with romance and singing on their shoulders, they bear the title of a ‘dark comedy’- this could also be a factor in the critics disapproval, as it is always risky to make light of grey areas like this - as was proven by their short runs in America, a place where their humour wasn’t necessarily appreciated or understood.

It goes without saying the productions were hindered by these reviews, but reviews aren’t entirely what puts ‘bums on seats’. Fortunately, both of these shows have what can only be described as ‘a cult-like fanbase’- which is what sells tickets. As one unfavourable review from The Times in reference to the following of Heathers puts it -‘it’s critic proof’, with which I have to agree. Having personally experienced the electric atmosphere of the crowd at this show, how could anyone agree with Sarah Crompton that it was ‘mundane’. I too am not the only person who feels this way, as popular theatre vlogger MickeyJoTheatre explores the discrepancies between the audience and the critic’s opinion.

As I write this, I am sitting at my bedroom desk, still buzzing from watching Bonnie & Clyde the night before with the Olivier awards live stream on in the background. I am watching nominees walk the green carpet with the absence of my favourite actors, who, due to the snobbery of critics, continue to go unrecognised . I know my opinion doesn’t carry as much weight as someone who is paid to have one, but I believe it is important to bear certain thoughts in mind when you consider booking to see a show. You should base it on the stories you are interested in or the music you are more inclined to; consider the opinion of the majority-not the arrogance of the ‘cultured’ minority.

Thanks to the amazing audiences, Heathers has secured a run in The Other Palace for the foreseeable future and Bonnie & Clyde are producing a cast recording following their currently successful but short run in The Garrick. I’m sure there are many shows destined to have the same journey as these two, but I know this isn’t the last we’ve heard of them. Hopefully the critics with outdated narrow minded outlooks on all these new shows will phase out, and be replaced with a more open minded generation of reviewers who are more accepting of the shift in the musical theatre industry, whereby keeping with the times and welcoming the views of the masses with open arms.