Book: Mark Bramble
Music: CY Coleman
Lyrics: Michael Stewart
Director: Jonathan O’Boyle
If you’re looking for a quiet night at the theatre, Bill Kenwright Limited’s production of Barnum, the biographical musical based on the life of the circus impresario of the same name, isn’t the ticket; the Watermill 2024 production now on tour is loud, energetic, and sometimes brash – and with a cast led by former Joseph Lee Mead (although out for this particular performance) it feels as though director Jonathan O’Boyle looked up ‘spectacle’ in Charity Barnum’s dictionary and decided to go all in.
A cast of 21 carries the show, the best part of which is the multi-talented performers who between them play over 150 instruments and perform all manner of circus tricks through the two-hour show. They are, together and individually, outstanding and worth the price of admission, yet even the most talented actor-musicians can’t cover the weaknesses of Mark Bramble’s book. It is clunky, it is confusing, and it suffers from being more episodic than flowing.
Tom Sterling covers for Lee Mead in the title role brilliantly, although without the expected star quality. There are many times throughout the show when the character of PT Barnum could get lost among the myriad of tumbling and summersaulting, and a few where he does, but the tension when Sterling crossed the stage on a tightrope some seven foot off the ground was palpable and underscored only by a drumroll. In fact, it was the only time the audience fell completely silent. Sterling’s performance was far from perfect, but he managed to navigate the twists and turns of the show with ease.
It was Barnum’s acts, however, where the show’s talent shone brightest. Penny Ashmore’s Jenny Lind and Fergus Rattigan’s General Tom Thumb both help drag the story along expertly, with Lind’s operatic appearance as the Swedish Nightingale among the strongest in the show. They are joined by a company of actors and circus performers, choreographed by Strictly’s Oti Mabuse with circus direction by Amy Panter. Mabuse and Panter’s work comes together to create non-stop visual excitement, although it is sometimes overwhelming and distracting – there is seldom a moment where we aren’t treated to aerial acrobatics, a contortionist shooting a bow and arrow with their feet, or James Gill and Emily Odunsi’s teeterboard act. Two leaders in circus entertainment – Zippo’s Circus and the National Centre for Circus Arts – bring a combined eight decades of experience to the productions.
The show is performed on a circus tent inspired set designed by Lee Newby; a big top complete with balcony and two boxes. Newby, who also designed the show’s costumes, turns away from the volume of the production with more muted tones. The set and costumes evolve together as the show progresses; from the classic red and yellow, to a marching band-esque white and blue, then black and white, before unveiling Barnum’s iconic red jacket to close the show.
In the show’s missteps, it is impossible not to come back to Bramble’s book. It glosses over Barnum’s less-admirable qualities, both professionally and personally, and seems intent on reducing all other characters to nothing more than a sideshow act. Even Ashmore’s Lind cannot force Charity Burnum (played exquisitely by Monique Young) to rise to her husband’s indiscretion. O’Boyle does what he can, Mabuse and Panter do what they can, and Cy Coleman (music) and Michael Stewart (lyrics) do what they can. Unfortunately, even with all the talent available to the show, none of it is enough.
The soundtrack is sweet if unmemorable. ‘There is a sucker born ev’ry minute’ starts and end the show giving us two very different PT Barnums, while act two opener ‘Come follow the band’ brings a rare circus-free energy to the stage. The vocals are mostly strong, but the show is made by the music being played on stage. Over 150 instruments feature in the show ranging from a bird whistle to a sousaphone.
For all its spectacle, this production doesn’t quite deliver on the promise of ‘the circus musical’ – it certainly feels more circus than musical. It’s certainly a fun night out and worth a trip, if only for the music and circus acts.
Runs until Saturday 14 March, and then on tour.
