I'm what you might call a Wildhorn fan. I visited New York in 1999, when he had become the first composer in years to have three musicals on Broadway at the same time for ages - Jekyll and Hyde, The Scarlet Pimpernel and The Civil War. I've been lucky enough to MD the first of those, and up until recently, had seen all of his works. I've got the CDs, and for some literally have the T-shirt. So, it was with some excitement that the Broadway Cast of his latest work, Bonnie and Clyde, dropped through my letterbox, courtesy of Broadway Records.

I say "until recently", as there seems to have been a flurry of Frank Wildhorn's work over the past few years. Wonderland was his take on the Alice In Wonderland saga, which I reviewed in this column last year, which came after works on The Count of Monte Cristo, Dracula and Cyrano de Bergerac. None, unfortunately have been too successful as commercial theatre projects, most closing within weeks of opening, and losing money in the process. Indeed, this latest recording was recorded after the show closed on 30 December 2011, after a disappointing 33 previews and 36 performances.

So what of the recording. Wildhorn's cast recordings always seem to fair better than the actual theatre productions, and it's a credit to him, and the various record labels, that they get recorded for others to enjoy long term. Indeed, for some of his works, such as The Scarlet Pimpernel, there seems to be more recordings available than productions mounted. Wonderland has two recordings commercially available, which are both different. One wonders if we will see further recordings of Bonnie & Clyde, as I don't think we've seen the last of it.

Wildhorn has teamed up with the UK's top lyricist Don Black for this outing, and Black's lyrics shine through. They seem a natural partner for Wildhorn's music, and one must wonder why the two haven't worked more together, although the less-than brilliant Dracula may have had something to do with this. This time, the partnership seems much more at home,

The recording is a great listen - not the musical style I was expecting, but there's no denying the composer. 'Made In America' could have come from no-one else's pen. Catchy tunes, and great form to the numbers. The numbers progress the plot reasonably well, but it would be nice to have had some libretto to enhance the experience. Jeremy Jordan (currently in Newsies, and Tony-nominated) and Laura Osnes (previously in Grease) give sterling performances, and some superb numbers - 'Too Late to Turn Back Now' and 'What Was Good Enough For You' are diverse, but equal in their emotion and delivery. The bonus track 'This Never Happened Before'. Fans of Wildhorn's big ballads have slimmer pickings, but won't be disappointed with the sublime 'Dyin' Ain't So Bad' and 'Bonnie'. Mention must also be given to Michael Lanning for his superb Gospel-influenced 'God's Arms Are Always Open'.

Superb production on the album, and a very informative CD booklet all add to what is a very pleasing experience. It's not a classic cast album, but one that I will certainly play again.

7

Ian Gude