Reviving a musical is always a risk. Can you capture the magic again, or are some shows best left to their period?
Bill Kenwright Ltd have perhaps realised it could be the last chance to showcase Barnum before The Greatest Showman - The Musical arrives in London in spring 2027.
Barnum premiered on Broadway back in 1980, one year before it arrived on London’s West End. Since then, it’s had a couple of UK tours and revivals. In 2024, Matt Rawle played Barnum in the Watermill Theatre revival, and now he’s back with much of the original cast to keep the show on the road.
The set is spectacular, with a two-tier circus-cum-theatre within the stage. The lighting and sound are marvellous and flawless. The circus is always putting on a show, like when the ingenious set changes where the contortionist brings out the restaurant table, whilst the coat rack is carried in balanced on one hand for the set change.
The dancing is something I decided to really focus on, as it has been choreographed by Oti Mabuse (Strictly Come Dancing), but I was disappointed to see the ensemble out of sync in a few numbers and for Rawle’s moves to be nothing more than limp-wristed gesticulation.
A circus-themed musical comes with high expectations, and having seen what shows like Sophie’s Surprise Party can do on a small stage, I was expecting more moments that made me gasp. The show is full of talented performers, but their role is often to supplement rather than take the spotlight. The highlight of the circus is the see-saw acrobats, and the only real tension is Rawle on the tightrope.
That is until the star of the show appears - The Swedish Nightingale - Jenny Lind (Penny Ashmore), who lives up to her on-stage hype with a gorgeous vibrato and such a beautiful resonance. Her time on stage is short-lived, but my word, she makes an impact. I’d buy a ticket to see that act perform again.
The plot follows Barnum’s life as a whistle-stop tour, and there’s not much time to stop and take a breath. Rawle splutters his way through the patter song (and some of his lines), but always manages a big finish when it matters. Much of the second act feels superfluous, aside from its beginning and end. Charity’s death (Monique Young) and the mayoral campaign have very little impact, other than to contrast the final circus number.
A special mention must go to Jumbo the elephant, who gives a flawless performance. It would have been great to see him one more time at the finale, but perhaps the puppet had to be packed into his trunk by then?
The music by Cy Coleman and lyrics by Michael Stewart will have you humming its tune after you leave the theatre. There are some beautiful songs, including The Colours of My Life, and Tom Self as James Bailey brings fresh life to the show in Join The Circus.
At times this show was excellent, but the show lost its shine when it wasn’t polished. It’s the small things that count, like one stilt walker having shoes and the other not. Despite my criticisms, it’s still worth seeing the show whilst it’s in town. Take it as a light bit of fun and with the ensemble playing 150 instruments (including kazoos) on stage there are many reasons to ‘Come Follow The Band’.
Review: James Dix Photo: Pamela Raith