ANDY DRACHENBERG: What captivates people about Bonnie and Clyde’s story?
Jeff Calhoun – Whether it’s Bernie Madoff or Bonnie and Clyde, I think it’s human nature to want to understand how ostensibly good people go bad.
AD– How have the collaborative process and the show developed over time?
JC – There are truly no shortcuts, and there is no substitute for time when creating a new show. The whole process for Bonnie & Clyde evolved over the last 5 years. In September 2006, I went to book writer Ivan Menchell’s home in Los Angeles to play him three songs written by composer Frank Wildhorn and lyricist Don Black. Ivan loved what he heard, joined the project and our creative team was complete. The first year, we focused on establishing our process and then crafted the first full draft. The second year, we did a reading for potential producers thanks to Todd Haimes and Roundabout Theatre Company. The next year, Christopher Ashley produced us at the La Jolla Playhouse with enhancement from the folks who discovered us at the Roundabout reading. Although the La Jolla production broke box office records and received numerous local awards, there was still more work to be done. So the following year, we took our new and improved script to Michael Edwards and the Asolo Rep Theatre. With the Asolo Rep incarnation, we started answering many of the questions our La Jolla audiences put forth in talkback sessions. This year, year 5, a final New York City reading afforded us the opportunity to explore additional new material. It was this reading, that affirmed our long held belief that one day our show would get the opportunity to make or break on Broadway.
AD– What drew you to this project as a director?
JC – The score, these two iconic characters and a chance to create an original musical. Surprisingly, this musical is not based on the wonderful iconic film. Instead, Ivan Menchell has explored Bonnie and Clyde’s journey starting from when they were children trying to survive The Great Depression up until their bloody demise on a dusty country road. The entire creative team was surprised to learn how little we actually knew about that journey.
AD– How did you create the 1930s landscape of the piece?
JC – It’s interesting and important to note that the entire Bonnie & Clyde legend is built on only four years, from 1931 to 1934. I think Tobin Ost, our scenic and costume designer, really met the challenge and succeeded in creating a set that can show both the vast and expansive Texas plains, yet when necessary, feel as claustrophobic as the hide-outs that Bonnie & Clyde were forced to live in toward the end of their lives.
AD– Is this a big song and dance show?
JC – There isn’t a lot of choreography per se. It didn’t seem appropriate to see Bonnie and Clyde doing time steps or wings. Though there aren’t constant show-stopping numbers, hopefully the entire evening feels like one heart-stopping experience.
AD– There is a sizable cast for this show. Who else populates the world of this story in addition to Bonnie Parker and Clyde Barrow?
JC – We tend to forget that Bonnie & Clyde were kids, part of a family, when we think about them. They were also part of a community, whom were all trying to survive the devastation of the Dust Bowl. Bonnie & Clyde’s families and friends help populate our world, and also serve to remind us that there were many lives devastated in addition to the thirteen people who died directly at the hands of the Barrow gang.
AD– This show seems to have a unique synergy. How do you feel about your overall experience working with this creative team and cast?
JC – For me, Bonnie & Clyde feels like the perfect project at the perfect moment! I’m thrilled to be a part of this remarkable team.
AD– How does Bonnie & Clyde fit into the canon of your work?
JC – I’ve been fortunate to have a very eclectic body of work. I’ve worked on musicals with the Deaf Community, re-envisioned classic shows like Grease!, taken on more artistically adventurous work like Grey Gardens and translated a TV movie phenomenon like Disney’s High School Musical to the stage. With Bonnie & Clyde, I’ve strived to attain my most mature work to date. Yet, as diverse as these shows may be, I try to ensure they all have heart, beauty and imagination.
AD– Did you take a particular approach to directing Bonnie & Clyde?
JC – I don’t know about other directors, but my approach to each project is essentially the same. Although the story, characters and dialogue vary, I go through a similar process no matter what I’m working on.
AD – What excites you most about the Broadway run of Bonnie & Clyde?
JC – I’m most excited for audiences to hear what I think is Frank Wildhorn’s best score coupled with Don Black’s poignant and potent lyrics. I’m excited for audiences to discover Laura Osnes and Jeremy Jordan, they are about to become household names. We will all be able to say,” I remember them when…” And, I believe that after Bonnie & Clyde, Ivan Menchell will become one of the most sought-after book writers in the business. I’m excited for all those things!
JEFF CALHOUN (DIRECTOR & MUSICAL STAGING) Broadway: Grey Gardens (Musical Staging), Deaf West’s Big River (Director/Choreographer: 2004 Tony Award Tony Honor for Excellence in Theatre), Brooklyn (Producer/Director/Choreographer), Annie Get Your Gun (Co-Choreographer with Graciela Daniele: 1999 Tony Award, Best Revival), Grease!(Director/Choreographer: 1994 Tony Nomination, Best Choreography), Tommy Tune Tonite!(Directing Debut), The Will Rogers Follies (Associate Choreographer). West End/International: Disney’s High School Musical 1 & 2: On Stage!(Director). Regional/National Tour: Disney’s Newsies (Director) Paper Mill Playhouse, Jane Austen’s Emma: A Musical Romantic Comedy(Director/Choreographer) The Old Globe, Bonnie & Clyde(Director/Musical Staging: 2009 San Diego Critics Circle Award for Outstanding New Musical and Outstanding Director of a Musical) Asolo Rep Theatre and La Jolla Playhouse, Dolly Parton’s 9 to 5 the musical (Director/Choreographer) 1st National Tour, Deaf West’s Pippin (Director/Choreographer) Mark Taper Forum, Disney’s High School Musical: On Tour! (Director) Disney Theatricals, The Civil War (Director) Ford’s Theatre. Jeff is an Associate Artist at Ford’s Theatre.