Barnum review – 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.