Barnum is big, brash and loud, as befits a musical about the circus! At least it certainly is in Jonathan O’Boyle’s whirlwind production, which is at New Wimbledon Theatre this week, having been staged at the intimate Watermill Theatre near Newbury in 2024, though how on earth the cast of twenty-one ever fitted on that venue’s stage must remain a mystery!
The show itself, telling the life story (fairly accurately, if abridged!) of Phineas Taylor Barnum (1810-91), who ‘humbugged’ his way through life, written by Mark Bramble, Michael Stewart and Cy Coleman, has enough energy for several musicals by other writers, the pace rarely letting up in the seventy -minute first half, even if there is some time for romance and reflection after the interval! If you are not familiar with the story, a quick glance at Wikipedia before seeing the show will help!
First seen on Broadway in 1980, where it starred Jim Dale as Barnum, it came to the London Palladium the following year with Michael Crawford. In the current revival, Matt Rawle yields little to his predecessors, having real charm and genuine charisma, as well as an engaging way of putting over a musical number and using the dialogue. Above all, as with the rest of the company, he appears to have boundless vitality and vibrancy. It is difficult to give specific examples as he seems to be onstage all the time, except when he is given brief respites for changing costumes, inventively designed by Lee Newby. Occasionally, because he speaks so quickly, it can be difficult to hear what he is saying, but this could be due to the sound design (Tom Marshall), which has too much ambience for this theatre.
Although many of the audience at Wimbledon may well have come specifically to see him, the rest of the ensemble has been cast from strength. Monique Young is very believable and, when allowed, poignant, as Barnum’s wife, Charity, exhibiting an attractive singing voice and stage personality. Penny Ashmore, as opera singer Jenny Lind with whom (spoiler alert) Barnum temporarily falls in love, convinces, especially with her pronunciation of Swedish!
Dominique Planter, as Joice Heth, the ‘oldest woman in the world’ and one of Barnum’s first “humbugs”, has a terrific dark-toned voice which is most attractive, especially in her blues number, but, again, the sound design makes her voice appear much louder than anyone else’s!
But, as I have already written, the whole troupe is very talented, with unbounded drive, both in their singing and dancing, as well as in their skill at playing musical instruments at the same time. The programme tells us that, between them, they play over 150 musical instruments during the course of the show, and even if this does include everyone on the Kazoo in one number, instruments include the Sousaphone/Helicon for “Come Follow The Band” at the start of Act Two, and the harp beautifully played by Jenny Lind/Penny Ashmore. It is yet again a shame that it is almost impossible to hear the singing, let alone the words, in “Come Follow The Band” owing to the sound design favouring the instrumentalists.
Oti Mabuse’s choreography is suitably enthusiastic and well drilled, Lee Newby’s circus-themed set provides several areas at different levels for the actors to use and Jai Morjaria’s lighting is bright and cheerful. My only caveat here is that there are so many large stage lanterns and large loudspeakers hung from vertical bars on either side of the proscenium arch that, unless you are fairly central in the auditorium, much, if not all, the action on the sides of the stage is not visible, as the auditorium is much wider than the stage. Several audience members around me could be heard complaining (I was in Stalls N35 so don’t sit there!). Aided by Zippo’s Circus and the wonderful National Centre for Circus Art, which is well worth a visit and supporting if you are ever in Hoxton, there are circus acts aplenty, topped off by George Dyer’s orchestrations and vocal arrangements.
One of the great American musicals in a production worthy of its originators. Very highly recommended as an “old-fashioned” Broadway show. It has an upbeat feel about it – indeed, any poignant moments or difficulties in Barnum’s life, such as the fire which destroyed his museum, are glossed over – as Barnum himself glossed them over! Its run at New Wimbledon Theatre is the nearest it is touring to central London, so if you enjoy musicals and do not know the show, Wimbledon is only 20 minutes from Waterloo! Recommended!
Review by John Groves
Step right up and enter the dazzling world of P.T. Barnum, where imagination and ambition know no bounds. Hand in hand with his wife, Charity, Barnum’s life and career twists and turns as he schemes and dreams his way to headier heights.
Matt Rawle – P.T. Barnum
Monique Young – Charity Barnum
Penny Ashmore – Jenny Lind
Dominique Planter – Joice Heath
Fergus Rattigan – General Tom Thumb
Elena Bluck, Gianpaolo Candelaria, Eamonn Cox, James Gill, Jessica Jolleys, Emma Jane Morton, Sophie Precious Muringu, Lennin Nelson-McClure, Emily Odunsi, André Rodrigues, Ben Scott, Tom Self, Laura Sillett, Tom Sowinski, Tom Sterling, Niki Tsonopoulou
Music by Cy Coleman
Lyrics by Michael Stewart
Book by Mark Bramble
Director – Jonathan O’Boyle
Choreographer – Oti Mabuse
Arranger, Orchestrator and Musical Supervisor – George Dyer
Set and Costume Designer – Lee Newby
Co-Choreographer – Matt Nicholson
Lighting Designer – Jai Morjaria
Sound Designer – Tom Marshall
Associate Director and Musical Staging – Jess Ellen Knight
Circus Director – Amy Panter
Magic Consultant – Richard Pinner
Circus Instructors – Iona Luvsandorj and Sabrina Joshua
Puppet Designers – Mervyn Millar and Tracy Waller for Significant Object
Puppetry Director – Helen Foan for Significant Object
Circus Consultants – Zippos Circus and The National Centre for Circus Arts
BARNUM
New Wimbledon Theatre, 29 September to 3 October 2026
Tour continues to 31 October 2026
