Curve, Leicester
Tuesday 1st
September, 2026
‘There’s
a sure-as-shooting sucker born a minute’
Before Hugh Jackman
introduced a new generation to the 19th century showman P.T. Barnum
in the Disney movie The Greatest Showman, the 1980 musical Barnum
brought the big top to Broadway. Juggling song, dance, and circus antics,
Jonathan O’Boyle’s revival (originally staged at the Watermill Theatre) is a
menagerie of spectacles, uplifting Mark Bramble’s slight book and the nice-but-uninspiring
music from the otherwise reliable Cy Coleman.
Taking the form of a 19th
Century roadshow, a Ringmaster announces the re-enactment of pivotal scenes
from Phineas Taylor Barnum’s life, as he navigates humbles beginnings, marital
disputes, showbiz endeavours, and even politics. Key to Barnum’s success is the
art of monetising his trademark ‘humbugs’ (read: ‘lies’). For example, he gets
his start running a sideshow featuring Joice Heth, the ‘World’s Oldest Woman’,
(160 years old, believe it or not…), and when the customers don’t bite, he
quickly changes tack, instead selling Heth as George Washington’s nursemaid,
which the public eagerly lap up. His ‘exaggerations’ continue in his hiring of
‘General’ Tom Thumb, while he sells tales of ‘four-headed frogs’ and ‘mermaids’
to gullible punters. Stumbling blocks arise in the form of building fires, extra-marital
affairs and grief, yet these potentially dramatic events are skimmed over by
Bramble, seeming superficial (a bit like Barnum himself). While one could argue
this fits the revue style of the musical, I felt that it resulted in a lack of
narrative jeopardy.
While Coleman’s music does
not reach the heights of his classic score for Sweet Charity, it is
infused with the spirited telltale sounds of the circus – bells, kazoos, penny
whistles. This brings a great energy to proceedings, which is matched by
Michael Stewart’s playful lyrics. This is most evident in the tongue-twisting
patter number ‘Museum Song’ which rattles along at an impressive breakneck
speed. ‘Join the Circus’ and ‘Black and White’ are also highlights in a serviceable
score, injecting a dose of jazz and pizzaz.
While the book and music – entertaining
enough – are not the strongest, Barnum’s selling point is
most-definitely its spectacle and stagecraft. A team of acrobats adorn the
stage, hand-walking and silk-swinging us through scene transitions. The
Watermill staple actor-musician element is fitting for the piece, and, as
always, I was awestruck by the multi-threat cast. Penny Ashmore compliments her
stunning operatic voice, as Swedish superstar Jenny Lind, with some gorgeous
harp-playing and balletic poise. Monique Young is sympathetic as Taylor’s
long-suffering wife, Charity. Young plays her as an earthy alternative to
Barnum’s flighty fancies while maintaining a mischievousness to rival that of
her husband. Matt Rawle is all charm as the man himself – witty, impish and
always quick with a dazzling smile – he effortlessly portrays Barnum’s
inexhaustible zest for life. And he pulled off the famous high-wire walk with
aplomb!
Pasek and Paul’s The
Greatest Showman has those sought-after ear-worms that have infiltrated
popular culture over the last decade, not to mention the gloss afforded by the
Disney name, yet Barnum offers an alternative, fittingly rougher
depiction of a particular era in American history. The musical feels like an
authentic evening at the circus, full of sporadic wonder and the electric
tension that arises from seeing stunts accomplished in real-time. The tour is
well-worth seeing for the visuals alone, not to mention a highly talented cast
putting their all into a highly technical production. As my companion said as
we left the theatre – ‘it must be a nightmare to Stage Manage’, so a big shout
out to the backstage team too!
Barnum is
playing at Curve, Leicester until 5th September as part of a UK
tour. For further information, please visit https://www.kenwright.com/productions/barnum-2026-uk-tour/
Matt Rawle as P.T Barnum in Barnum. Credit: Pamela Raith
