Barnum
Curve Leicester
1st September 2026
Before Hugh Jackman brought P.T. Barnum back into the mainstream consciousness with ’The Greatest Showman’, there was ‘Barnum’, Cy Coleman, Michael Stewart and Mark Bramble’s 1980 musical about the legendary American showman. Originally starring Jim Dale on Broadway before Michael Crawford famously took the role in the West End, the musical has retained a devoted following thanks to its infectious score and larger-than-life central character. This latest revival, directed by Jonathan O’Boyle and choreographed by Oti Mabuse, began touring at the start of this year with Lee Mead in the fancy red jacket. Matt Rawle has now taken over for the second half of the run, which pitches its tent at Curve Leicester this week.
The story follows Phineas Taylor Barnum (Rawle), an ambitious showman with an extraordinary talent for turning the unusual into entertainment. From humble beginnings, Barnum builds an increasingly spectacular business around his ability to persuade audiences that almost anything can be fascinating, provided it is presented with enough showmanship. Alongside Barnum is his wife Charity (Monique Young), whose sensible and steadfast personality provides a necessary counterbalance to her husband’s relentless ambition. As Barnum’s career develops, we encounter some of the remarkable figures associated with his enterprises, including General Tom Thumb (Fergus Rattigan), “world’s oldest woman” Joice Heth (Dominique Planter) and the “Swedish Nightingale” opera singer Jenny Lind (Penny Ashmore). While the narrative is largely concerned with Barnum’s rise and his pursuit of fame, there is also a more personal story concerning ambition, marriage and the price of success.
Between its spectacle and its score, ‘Barnum’ has a lot going for it. Visually stunning and with a huge sense of scale, the circus elements really come alive and the show remains a consistent feast for the eyes. There is also a wonderfully old-school musical theatre quality to the music, combining brassy circus rhythms with moments of genuine tenderness. Numbers such as “Come Follow the Band”, ‘There’s a Sucker Born Ev’ry Minute’ and “Join The Circus” remain instantly memorable, while ‘Love Makes Such Fools of Us All’ provides a more reflective change of pace. The score also gives the production plenty of opportunity to demonstrate the talents of its actor-musicians (often a distracting approach in some shows, but it really works here), with the musical numbers frequently becoming full theatrical set-pieces. Oti Mabuse’s choreography makes particularly effective use of the rhythmic energy within Coleman’s music, incorporating dance, acrobatics and circus skills into the musical storytelling.
Mark Bramble’s book moves rapidly through Barnum’s extraordinary career, and plays second fiddle to the visuals. There is a huge amount of material to cover and the story often feels more interested in moving to the next attraction than allowing its characters to fully develop. The show can feel like a series of set-pieces rather than a cohesive whole, and the laboured book scenes often slow things down, with the feeling that the audience is really just waiting for the next song and acrobatic thrill. Nevertheless, the book gives us a compelling central figure. Barnum is charming, manipulative, ambitious and endlessly inventive, and the show is at its most interesting when it allows those contradictory qualities to sit alongside one another, it just doesn’t happen as organically as it perhaps could.
Matt Rawle is great casting Barnum, bringing considerable charm and charisma to the role. There is an appealing cheekiness to his performance, but Rawle also understands the character’s more calculating side. He handles the demanding combination of acting, singing and physical performance with impressive confidence, particularly the more lyrically-challenging songs and the famous tightrope walk. Monique Young makes an excellent Charity, providing warmth and emotional substance while resisting the temptation to allow the character to become simply the sensible wife waiting in the wings. Penny Ashmore brings a stunning vocal presence to Jenny Lind, while Fergus Rattigan makes a memorable General Tom Thumb. Dominque Planter is equally effective as Joice Heth, bringing humour and personality alongside big vocals. But this show really belongs to the ensemble. They are the absolute stars and lifeblood of the production, and their ability to switch between musicians, dancers, actors and circus performers gives the whole production its infectious energy.
‘Barnum’ isn’t a musical without flaws, with its tendency to favour spectacle over substance, but when the visuals are delivered this thrillingly, it’s hard to grumble. Jonathan O’Boyle and Oti Mabuse have created a lively revival that celebrates the skills of its performers, and the score has stood the test of time. For anyone expecting ‘The Greatest Showman’ on stage, this is something rather different, but audiences willing to discover the original musical will find plenty of charm, thrills and superb musical theatre craft. ‘Barnum’ may be about the greatest showman, but this production proves that the real magic lies in the performers who bring his world spectacularly to life. Step inside the big top, suspend our disbelief and enjoy the show.
Performance runtime 2 hours 20 minutes including interval.
Photos credit: Pamela Raith
‘Barnum’ plays at Leicester’s Curve until Saturday 5th September 2026, before continuing on its UK tour through to the end of October.
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