(seen at the afternoon performance on 25th June 2026)
Decades before “The Greatest Showman,” this Coleman / Stewart / Bramble Broadway and West End hit was the definitive stage biography of an American showbusiness legend.
Should you read further, you will find that Barnum was more than a huckster. Like most men of his time, he had religious faith and a seriousness belying the prankster presented here.
There have been many attempts at this musical since its first run. The 1985 Victoria Palace version remains definitive, the 1992 Dominion Theatre run mirroring it. Cameron Mackintosh tinkered unsuccessfully with the show in 2014.
A decade later, the Watermill Theatre created this successful actor / musician version, which Bill Kenwright Ltd is currently touring.
Casting a myriad of circus talents is the first excellent choice. It allows director Jonathan O’Boyle and choreographer Oti Mabuse to flood constantly Lee Newby’s wonderful bright circus tent, boxes and galleries set with movement and colour at every opportunity.
Jai Morjaria’s lightbulb studding and giant sign add to the atmosphere, Morjaria also unafraid to turn a single beam on the more dramatic moments.
The upshot is barely a slack moment, always someone “tossing that baton high” or “a million miles up there” to delight and impress us.
Lee Mead’s Barnum is far closer to both books and Hugh Jackman’s cinematic creation. Without original leads Michael Crawford or Jim Dale’s aptitude for comedy, Mead is more reflective and introspective.
His relationship with wife Charity “Chairy” (Monique Young) is more equal and closer. Their duets are precise, and she has considerably more control over their partnership.
Young handles her solo moments well. If the tempo of her section of “The Colours of My Life” is far too fast (it should be slow, to contrast with her husband – as a later reprise proves), she packs a punch with her final departure.
Their closeness also makes his betrayal with “Swedish Nightingale” (the monkey still prefers “The Singing Swede”) Jenny Lind (Penny Ashmore) far more emotionally devastating than usual, their reunion more significant.
Mead too makes most use of his notable vocal abilities. He can do the wire walk, but proves more limited where the impression of spontaneity is required, and is still learning to palm a flower and work magic props.
Against this, he overcame a horrible incident during “Museum Song,” which left him unable to deliver several verses. If the hat loss is “scripted,” cut it – it was clear the kick left him in pain.
His mistress, Penny Ashmore, is a highly versatile musician. She is also gifted with operatic and balletic abilities (en-pointe for a moment), and the ability to deliver a “number two extra trembly” smile knocking out men at the back of the balcony.
There are many other outstanding talents. Dominique Planter is an irrepressible Joice Heth at the age of 160, quickly realising the advantages of remembering “Little Georgie” when the alternative is a cold, wet pavement for the night. An engaging singer and character actor, with a flair for vaudeville.
Fergus Rattigan as General Tomb Thumb and Morrissey amuses as much as the kazoo orchestra. His moments are scene-stealers, Jumbo a fine foil.
Circus performers Andre Rodrigues, Emily Odunsi and Niki Tsonopoulou are also noteworthy, not forgetting Sophie Precious Muringu’s neatly top-hatted Scudder. Her suffering of her business partner’s humbug, and delivery of bad news are well-realised key moments.
Truthfully, the show does miss the garnish of its second London run at the Victoria Palace Theatre. That delivered a something with every extra bit of business Crawford could invent. A (sadly discoloured) DVD is available, and is worth seeing.
Not much can eclipse it; but this is a truly admirable production, delivering its own brand of spectacle and stunning musicianship. The pace rarely flags, and they squeeze the maximum out of their budget.
You’d be a sucker if you don’t take a minute to buy tickets to this bit of humbug – there’s none finer on the road right now.
4 stars.