Review: Barnum (Woking Theatre / UK and Ireland Tour)

Review by Ruth Sealey

⭐️⭐️⭐️

The story of P.T. Barnum has enjoyed something of a resurgence in recent years, from the global success of The Greatest Showman to the recent 2026 stage adaptation in Bristol, with a West End transfer eagerly anticipated. For those looking for their circus fix in the meantime, the touring production of Barnum is currently travelling across the UK and Ireland. Having most recently been revived at the beautiful Watermill Theatre, could this larger-scale production recapture the wonder and spectacle of the circus or would it ultimately miss the target?

Barnum first premiered on Broadway in 1980 before transferring to the West End the following year. After several decades away from major revivals, it returned in 2018 at the Menier Chocolate Factory before becoming part of the summer season at the beautiful Watermill Theatre in 2024. The production follows the twists and turns of Barnum’s life, charting the creation of his American Museum, the rise of his famous travelling circus, his relationship with his wife Charity, and even his later venture into politics.

The show itself is a full-scale spectacle, while Jonathan O’Boyle’s direction drives a frenetic pace, as acrobats and circus acts appear at multiple levels throughout. Clever touches such as set changes involving acrobatics were hints at thoughtful direction. At times, however, the space feels almost too expansive, raising the question of whether a production originally shaped for a smaller venue quite fully translates to a larger theatre setting. 

Choreography by Oti Mabuse helps to tighten the action, with sharply executed, well-drilled sequences, but the talented ensemble does not always do justice to the scale the production is aiming for.  Circus Director Amy Panter delivers striking visuals as acrobats spin high above the stage and execute cartwheels with frighteningly accurate precision, while not wanting to diminish their skill, it did at times feel never-ending and at points detracted from the key performances on stage. That being said, these elements do create some genuinely gripping moments that leave the audience on the edge of their seats.

Likewise, Lee Newby’s set and costume design is stunning, successfully evoking the atmosphere of a big-top circus tent while dressing the cast in a wealth of vibrant, eye-catching costumes that contribute to a true visual feast. Jai Morjaria’s lighting flashes with brilliance as vertical light sequences frame the stage and soften beautifully for the more tender moments of the production. 

However, there are moments where the story itself feels a little flat, with Mark Bramble’s book touching on themes and relationships that never feel fully explored. Barnum is not an endearing central figure, and his affair with Jenny Lind is rather brushed over, with little sense of why he ultimately turns away from her and returns to the ever-forgiving Charity. Moments of real vulnerability and quiet are often lost: at one point, Charity stands up and walks away from Barnham, intended to signify her death, though it briefly reads as unclear in execution and loses some of its impact. Likewise, Barnum’s loss of his American Museum to fire, after more than a year spent curating it, is dealt with so swiftly by both Barnum and Charity that it almost registers as a non-event in their lives.

The music by Cy Coleman and lyrics by Michael Stewart are a driving force throughout the production, with numbers such as ‘Come Follow The Band’ opening the second act in a burst of choreography, costume and musical energy that hints at the scale the show can achieve at its best. Interestingly, though, the more tender and more stripped-back moments land more effectively on stage, with songs such as ‘The Colours Of My Life’ offering a welcome opportunity to add depth and clarity to Barnum and Charity’s relationship.

The ensemble is the true workhorse of this production, with talent in abundance throughout. From actor-musicianship to dancing, singing, tumbling and spinning, there seems to be no end to their versatility and stamina. They are used incredibly well in this staging, often driving the action forward and filling the space with constant energy and movement. However, there are moments when the sheer scale of the stage threatens to outpace even their impressive efforts, with the larger playing space occasionally diluting the impact of a highly capable company and a script that does not quite do them justice. Even so, they remain the engine of the show, shifting seamlessly between roles and disciplines to sustain its sense of spectacle.

Monique Young as Charity Barnum is a standout, offering a finely judged performance that balances real frustration with Barnum against the warmth and devotion of a loving wife. She brings both emotional clarity and vocal strength to the role, with a particularly impressive ability to shift seamlessly between leading character work and blending into the ensemble as an actor-musician. Penny Ashmore’s vocals as Jenny Lind are a joy to listen to, and when she accompanies herself on the harp while singing, there is a moment of real stillness in the theatre that feels genuinely beautiful to be part of.

Lee Mead brings a real energy and sparkle to the role of P.T. Barnum, impressing with the ease of his vocals, particularly in the opening number ‘There Is a Sucker Born Every Minute’. As a character, Barnum makes some questionable relationship choices and is not an easy man to warm to, but Mead navigates this internal conflict well and, by the conclusion of the show, his performance almost convinces me to forgive him his indiscretions (just). He also very nimbly walks a tightrope, and the tension in the theatre at that moment is palpable.

Barnum is certainly a spectacle, with striking visual elements and plenty of fun to be had throughout this production. There are some excellent moments and standout musical numbers, but despite an extremely skilled cast, weaker elements of the story and the ambitious scale of the staging mean it doesn’t quite reach the heights it sets out to achieve.

Barnum tours all over the UK and Ireland until 31^st October. Dates and tickets here

Photos by Pamela Raith