I’ve always been slightly wary of seeing the show live, though, feeling slightly that I’ve already seen the ‘definitive’ version, to the extent that such a thing ever exists. When the dinky and fantastically concrete Menier Chocolate Factory announced it as its winter musical I was suitably intrigued to abandon this policy. I mean, how do you fit this ridiculous show and its huge score into what is essentially a very well appointed double garage?
With considerable aplomb, it turns out. Going slightly - gently - down the immersive route, this little joy of a production works wonders. I was (with one qualification) a huge fan.
Musically, Barnum is such an underrated show. Yes, the plot is a bit thin and overlooks, like, a lot about its main character but the songs and the score are cracking. It irks me that it’s not seen as more of a classic when its tracklist contains such beauties as Come Follow the Band, The Colours of My Life, There’s a Sucker Born Every Minute and Join the Circus. If I ever somehow end up on Strictly - when the world finally runs out of celebrities, shortly before the apocalypse - I’d want to charleston to Thank God I’m Old, preferably with AJ as my pro for irony’s sake (high five to the Strictly fans who got that joke). The score sounds stunning in this production too. The orchestration is completely fab and the band really knock it out of the park.
I was slightly concerned that this show being revived now, when the most dangerous proponent of humbug and flimflam the world has ever known is currently sat in the White House watching Fox News, would lead its creative team to try and make it a political satire of some kind. It’s ripe for it in many ways: you have the debate about truth v fakery embodied in its central characters and a large part of the second act is concerned with Barnum running for office. But, mercifully, this isn’t what we get here. Instead, it’s the joy and optimism and energy in the show that’s played up. And it’s infectious and wonderful and like a hug in show form. I defy you not to smile whilst watching this production. It’s exactly what the world needs right now: unashamed fun.
One of the chief joys comes from the production, which works an appropriate amount of magic in the tiny space. I always feel there’s something slightly edgy and unsettling about the Menier - possibly because it is, essentially, a small concrete box - but here, strung with fairy lights and full of performers, it feels exactly the right amount of ‘cheap but fun’. It feels like somewhere PT Barnum belongs. A couple of sightline issues aside (the production is slightly hamstrung by the space’s reliance on supporting pillars) the design and the lighting are amazing. Not as amazing as the movement and choreography though which is spectacular, even more so for the intimacy of the space and resulting closeness between performers and audience. The use of pleasingly low tech visual effects (the elephant is great) and seriously amazing circus skills adds another layer too.
In fact the only thing this production gets wrong is its central piece of casting. I was in no way convinced comedian Marcus Brigstocke was right for Barnum when his casting was announced and, having scene the production, I’m still not. I feel a bit sorry for him really. It’s such a difficult part and he’s clearly miscast but he tries so, so hard to make it work anyway. And I think he does, at times. Specifically, I think he completely carries the sunny optimism, charm and naivety of Barnum when he’s acting. His characterisation is really strong. His comic timing, as you would expect, is perfect. His accent is great and he ad libs fantastically. The issues come when he has to do more than act. He lacks the physical dynamism to fully embody the role and he visibly struggles with the show’s infamous tightrope walk (when I saw the show he made it across at second attempt, straining every sinew to stay on that rope in a way which was incredibly admirable, and my god I’ve never been that tense in a theatre ever in my life). I get that this scene is incredibly difficult - singing, acting and walking a fucking literal tightrope at the same time must be impossible to 99.99% of the population - but if you’re going to be Barnum you have to be able to do it. More problematic is his singing voice, which is weak both technically and in terms of power. He is by far the weakest singer in the cast, an obvious and persistent issue given he’s also the lead. No amount of effort and good intentions can alter that. God knows if it could then Brigstocke would be perfect for the role.
There is better news elsewhere. Laura Pitt-Pulford is spot on, and crystal voiced, as Barnum’s wife, Charity. It’s a joy to see her in such an intimate space. Harry Francis delivers a real show stealer as Tom Thumb and is generally pretty much the dictionary definition of a triple threat.
The real star in this show, though, isn’t an individual. It’s the tireless, versatile and joyful ensemble. Every time they appear en masse something astonishing happens - there’s such talent on display here. Whether it’s tap dancing, circus skills, card tricks, fire breathing or using various members of the cast as human skipping ropes (I assume that has a proper name but I don’t know what it is) everything is executed perfectly, with frankly tiring-to-watch amounts of energy and huge smiles. I loved these guys. If there was an award for best ensemble (and there fucking should be) they would take it hands down.
I really enjoyed Barnum. It’s pure entertainment, fun and spectacle at its best. That slap on the wrist for the casting director notwithstanding, you will leave the theatre with a stupid smile on your face and at least one song spinning round your head. It’s a joyful show and I for one feel like we need more joy in the world right now.
Barnum is at the Menier Chocolate Factory until March 3rd.
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