Roll up for great entertainment (and a cameo elephant)

The fun is hard to resist

Showman, charlatan or both? That is the gist of Cy Coleman and Mark Bramble’s genial and zesty musical about PT Barnum, the 19th-century American circus impresario. After its Broadway premiere in 1980, Barnum landed in the West End the following year.

Both (British) actors who played the title role earned top honours for their performances — Jim Dale netting a Tony in New York and Michael Crawford an Olivier in London. Little wonder, given the razzle-dazzle nature of the part (taken by Hugh Jackman in The Greatest Showman) and, indeed, the show itself.

Bramble’s book is a light and perhaps inevitably fairly shallow trot through Barnum’s life and career, pinned to the wily man’s hyperbolic dreams and schemes. The self-designated “Prince of Humbug” was a master of spin responsible for promoting such showbiz shams as “the oldest woman on earth’’, reputedly aged 160.

Other and even more famous money-spinning attractions included “General Tom Thumb”, just under three feet tall and recruited by Barnum as a four-year-old, and the opera singer Jenny Lind, billed as “The Swedish Nightingale”. Both feature here, along with a cameo appearance by Jumbo the Elephant — but, amusingly, only the animal’s trunk.

Barnum may not be a great musical, but, as Jonathan O’Boyle’s high-spirited revival at the tiny and charming Watermill Theatre demonstrates, it is an engaging piece of entertainment. Coleman’s upbeat, aptly oompah-style music neatly dovetails with Michael Stewart’s quick-witted lyrics.

A couple of persuasive love ballads give expression to Barnum’s long marriage to Charity Barnum, deftly embodied by Monique Young as tartly no-nonsense yet resolutely loyal, as well as his dalliance with Lind (the witty, piercingly clear-voiced Penny Ashmore). Does it matter that a glancing nod at Barnum’s political ambitions in Act II doesn’t go very far, or deep? It still yields yet another lively, satirically vaudevillian production number.

Barnum brims with energy, much emanating from an 18-strong and multitalented cast of actor-singers, musicians and circus artistes. The triumphant centre of it all is Matt Rawle’s Barnum, who with his chiselled features, killer smile and nimble physicality positively oozes the huckster’s charisma.

Kudos also to Lee Newby’s bright, colourful designs and the seamless movement direction shared between Strictly Come Dancing’s Oti Mabuse, as choreographer, and Amy Panter, overseeing the circus skills. It all adds up to impressive fun.

DONALD HUTERA

Roll up for some old-world big top magic

The circus begins outside with fire-eating, juggling and a coconut shy in the Watermill’s gardens. It is wondrous scene-setting for composer Cy Coleman and lyricist Michael Stewart’s 1980 musical about the American impresario and canny businessman PT Barnum, who pitched his 19th-century travelling circus as the “Greatest Show on Earth”.

Jonathan O’Boyle’s production exudes old-world magic and the infectious showtunes, surprisingly, do not sound overwhelming in this tight auditorium. There are stunning acrobatics and aerial work (especially by Emily Odunsi), with Amy Panter as circus director, while the dancing, choreographed by Strictly Come Dancing’s Oti Mabuse, comes into its own in the second half.

Thrilling high notes are hit by Penny Ashmore as the Swedish soprano Jenny Lind who Barnum takes on (in more ways than one). There is astonishing musicality all round, from accordions to triangles, culminating in a brass band marching on. With Lee Newby’s exquisite costumes – including the acrobats’ period outfits and the Pierrots – it manifests the idea of circus as a showcase for the furthest reaches of human imagination and capability.

Newby’s set never looks crammed despite the fleet of dancers, acrobats and actor-musicians (with two pianos wheeled on at one point). While Barnum’s enchanting circus becomes the emotional centre of the show, the story itself is slow to emerge and skimpy when it does, with Mark Bramble’s book leaving too many gaps.

Although we are told Barnum is the king of “humbug” – sweet talking, deception, lies – he seems an exemplar of the frontier spirit, a forerunner of Herbert Hoover’s 20th-century rugged individualism, and the musical never places him in anything other than a lovable light. There is a patina of personal revelation, with Barnum (Matt Rawle) telling us his story, but the focus is on his accomplishments. It skirts over his infidelity, his controversial foray into politics and the death of his wife, Charity (Monique Young). It is dated, too, with its menagerie of performing animals and circus “novelties” such as a boy with dwarfism. This does not jar, in its context, but feels forgivingly glossed over.

Still, this is an immensely beguiling production with immaculate performances that work magic.

ARIFA AKBAR

Before the show (and British summer weather permitting) there are various circus activities going on in the Watermill gardens, including fire breathing, juggling and gymnastics. When we get into the theatre, there are four trapeze artists on stage doing amazing things with their bodies on two trapezes and a huge suspended ring. They also appear at various times during the show; respect and top marks to Emily Odunsi, Kiera Brunton, Dan Holland and André Rodrigues, and circus director Amy Panter.

PT Barnum (Matt Rawle) walks among the seated audience and bursts into an energetic and commanding performance from the start. Barnum is a shyster and specialises in humbug, getting his audience to believe the unbelievable – that his company includes a mermaid and the oldest woman in the world (160) – but his engaging personality lets him get away with it. A tour de force from Rawle. His long-suffering wife Charity (Monique Young) puts up with him and offsets his exuberance with common sense and reason. They bicker and row, but Charity is the sensible one who gets things done.

At the early stages of his career, he runs a freak show, not a circus, and it’s not until he reaches 60 that he teams up (reluctantly at first) with James Bailey (Josh Barnett, who also plays the ringmaster) to form the world famous Barnum and Bailey’s circus, ‘the greatest show on earth’).

This is a musical, with the Watermill’s traditional actor musicians. The cast of 18 can fill the stage with the ensemble numbers, but excellent choreography from Oti Mabuse makes it seem effortless. Alongside the usual instruments, there’s an enormous sousaphone and a portable harp. The music itself is up-tempo with some catchy tunes, although it was hard to hear some of the lyrics clearly. Notable among the singers were Penny Ashmore as Jenny Lind, the Swedish operatic soprano signed up by Barnum to do concert tours in America with a musical repertoire more suited to the American audience, and Tania Mathurn with a lovely mellow voice.

The company maintained a cracking pace under the skilful direction of Jonathan O’Boyle. There were no weak links in this talented cast, which included Elena Bluck in her first professional role.

It’s brash, loud, energetic and you won’t fall asleep. A high-octane production.

PAUL SHAVE

Roll up for some old-world big top magic

Roll up! Roll up! the circus is in town and the Watermill’s production of Barnum is an absolutely thrilling treat. It all begins in the Bagnor theatre’s delightful gardens, with a circus ring festooned by fairy lights creating a magical atmosphere. There are also stalls selling hot dogs and popcorn, with circus music playing in the background.

On this night, the inclement weather forced the pre-show fun to be curtailed, but there were jugglers and musicians who led us into the auditorium... and what a visual delight awaited us. Lee Newby’s design created a circus ring complete with red and white stripes and stars and three trapezists ‘warming up’ high above the stage.

PT Barnum has a dream of becoming the greatest showman on Earth and is outstandingly played by Matt Rawle with energy, sparkle and charisma. Barnum was really a conman and an expert in the “noble art of humbug” as the opening number There is a SuckerBorn Every Minute expounds.

His loving wife Charity, delightfully played by Monique Young, is the perfect foil to providing a steadying influence on Barnum as his wild ideas of creating a museum filled with oddities becomes a reality.

The immensely talented 18-strong cast not only act and perform amazing circus skills, but also play umpteen musical instruments including a sousaphone under the musical direction of Josh Barnett. He brings Cy Coleman’s music with lyrics by Michael Stewart vibrantly to life and also plays a dashing ringmaster.

Life becomes more complicated when Barnum brings Jenny Lind to perform. Penny Ashmore has a soaring soprano voice and accompanies herself on the Welsh harp but this love triangle between the Barnums and her creates tension.

Closing act one Rawle crosses the stage on a high tightrope, a heart in your mouth moment, which received tremendous applause as he successfully reached the end.

Come Follow the Band is the rousing big band number that starts act two and it’s a dazzling showbiz triumph.

With inventive direction by Johnathan O’Boyle and skilful, energetic choreography by Oti Mabuse of BBC Strictly fame, this production leaves you wanting more.

Not to be missed!

ROBIN STRAPP