(seen at the afternoon performance on 27th October 2024)
The monkey was greeted by cousin Alfred on the way in.
Thus it knew, if Alfred is involved, that this is going to be interesting... and it is.
It is clear from the outset that Creative Director Simon Hammerstein (yes, that Hammerstein family) has the highest intentions of delivering a top-quality experience.
From the moment the (non-VIP ticket) public arrive to be greeted by Alfred and a fully costumed ushering staff, we know this is no "Wonka Experience" cash-in on the success of a movie.
A hall of vintage circus posters (explanatory panels sadly too under lit to read comforably) and centrepiece costume
(apparently only to be worn by the current “Greatest Showman” (showperson?)) set up the event. Do not linger here – anyway, the usher is keen to move you past the souvenir stand here, through to other commercial opportunities set up in the rest of the pre-show area lying around the outside of the auditorium.
You are advised to arrive early. A vast (ignored, when the monkey was there, no surprise as it is a family show) circular bar is the starting point after the poster foyer.
Move through it and the thrills and spills are laid out. For the thrills, there are two staging areas. The first, “beneath the stars” (or something like that) is a tent with a stage inside, an expectant crowd... and nothing happening. Move through it and past another vast (under-used) bar, there is another stage area.
This proved more interesting as within minutes a trampoline display WATCH THE VIDEO HERE, by acrobats in the cast, began. Ever more daring as it went on - the troupe walked up walls and practically bounced off the ceiling. The monkey vaguely wondered what it might be like if they were allowed a couple of pints before the show... Still, it was fun and could liven up the Barbican Theatre’s foyer space no end once the run here finishes.
The rest is acres of unused food vendors. There appeared a lack of wandering performers pre-publicity promised (the monkey saw one cast member riding a sort of unicycle, and a mime seemed to entertain a few) but no hoards of magicians or other strolling players.
A gypsy caravan is a decent photo opportunity, but the occupant, probably the local “Mystic Meg.” was “away with the fairies” according to the notice outside her nearby tent. A lady in an office (?) was posing for pictures, but a couple of uninflated inflatable animals behind a screened off cage made a highly unimpressive first entrance hall impression.
Time to move into the auditorium itself.
No raised circus ring, but every seat has an amazing view and adequate legroom for those up to at least 5ft 10 or so. The front row legroom is unlimited where the row is on the floor, as was the monkey’s own seat L9 (like 8 and 10 either side). Top of an aisle, nothing in front, as the picture shows.
The main event turns out to be a fairly lavishly produced circus, well costumed, with some impressive choreography by Jerry Reeve and West End quality lighting effects to show off the best of the ring from Adam Bassett.
Right at the start it is clear where the film’s producers drew the line.
“The Showman” (Simon Bailey) is absolutely and clearly in no way whatsoever, underlined in red, Mr P.T. Barnum himself. He is a bland but likeable ringmaster, honest to a fault without humbug, only interested in helping young Max (Aaliya Mai), a woman of our time, find her circus self.
That’s the plot, except for Max’s boyfriend falling off a highwire (intentionally, and on a safety harness like a giant spider) at some point for dramatic effect. Max ends up wearing the “Greatest Showman” outfit, and everybody goes home happy.
Filling in the rest of the two 45-minute halves are the aforementioned, glossily dressed, lit and choreographed circus acts punctuated by dance routines and some decent choral singing moments, only “The Other Side” a bit incongruous.
The acts feel somewhat above your local travelling circus (and should be, as ticket prices start at double what Giffords, Kid’s, Zippo’s et al charge); closer to Cirque de Soleil, but without quite the pretention.
They form mostly, as is traditional, into family troupes with Italianesque names. Delivering a range of material, what is expected happens.
The monkey particularly enjoyed a cube juggling routine it hadn’t seen before.
The air ribbon routine looked good
and a note for our star contortionist.
Fuzzy flames (even the back row cooked)
It runs up to a great stunt to end on - WATCH THE FULL VIDEO HERE, and the final audience applause is genuine and unforced.
Still, you also knew when a show runs out of ideas when the second half introduces the creatively bankrupt device of "split the audience into sections and hold a sing off" to pad things out.
On the upside, the monkey’s section won... but we would. Us rabble in the cheapest seats are bound to make the most noise. Plus, as last to go, our wily leader had us stand up to conquer...
With many seats in the £90+ range, truthfully the monkey has to wonder at the effect on ticket prices enabled by simply gluing on famous songs and light “theme park” entrance entertainment.
As mentioned, sometimes sung, sometimes instrumental behind the performances. If the monkey remarks that the very best thing was the 7-year-old girl sitting next to it, singing every one word-perfect, that says it all.
According to her mum, the youngster has seen the film "50,000 times." Her soft voice excitement made it special for this simian; the wonderful Shona Morgan in the cast coming up the stairs to wave to the little chanteuse, special for the young lady.
Most of all, now that a stage adaptation of the film is in the works, Disney Theatrical must absolutely see this. It solves, to the monkey mind, how the official "Greatest Showman" musical should be. Simply, unequivocally not in the round and equally unequivocally not presented as a circus.
Any proper stage musical will need a very strong and lavish traditional proscenium dramatic staging to work – maybe, just maybe at the Gillian Lynne Theatre with a sneaky revolve-into-the-round ending.
The rest of the time, if going for an open circus look, it suspects the story and music are nowhere near strong enough to avoid being swamped by visuals should gymnastics, as seen here, prevail.
Back to present and “Come Alive!” If you go into it with your eyes wide open, this is a fairly satisfactory and certainly well-presented circus. It has an attractive soundtrack and a few ‘gasp aloud’ moments.
Well intentioned and with its heart in the right place, the enthusiasm and skills of the team carry the day and uphold the finest traditions of the centre ring. It is not the greatest show on earth, but achieves for the most part the quality it aims to provide.
3 stars.
All photographs and video are copyright Theatremonkey.com 2024. Used by permission of the venue, given during the performance.
