Come follow the band…and that’s exactly what the Grand Opera House invites us to do this week, as the spectacle that is Barnum takes to the stage.
Circus music welcomes patrons into the auditorium, bulb-lined lights frame the stage, and soon the well-awaited moment: the curtain rises. And with a confident “Good evening” we’re welcomed into the unpredictable world of PT Barnum, showman, salesman, dreamer… and the master of humbug.
For those arriving with The Greatest Showman in mind, the bones of the story may feel familiar, but this musical, first performed onstage in 1980, precedes the 2017 movie-musical. This production allows us to follow Barnum from humble beginnings to global fame, watching as his relentless ambition builds an empire of extravaganza while his long-suffering wife Charity and those around him desperately try to keep up.
Lee Mead takes on the title role, and vocally he is exactly what you’d expect – smooth, controlled and effortlessly strong. There’s a flicker of true showman flair in the first act finale that hints at Barnum’s larger-than-life persona. At times, however, the character feels a touch restrained; the charm is there, but the bravado doesn’t always fully ignite. But Mead is consistently engaging, and when he leans into the performance the stage feels instantly fuller.
Then there’s the women in the story; Monique Young’s Charity Barnum provides the grounding heart of the piece. Warm, resolute and vocally assured, she balances Barnum’s chaos with quiet strength. Penny Ashmore’s Jenny Lind offers some of the evening’s most beautiful moments. ‘Love Makes Such Fools of Us All’ and her Obbligato strip the spectacle back, allowing space for genuine stillness, and it’s in those pauses that the show feels most connected. Her scenes with Barnum carry a cheeky spark that helps anchor the narrative, and provides comedic relief.
And the ensemble quite simply never stop. Whether executing swift costume changes, launching into tightly choreographed routines, or preparing for the next trick, their stamina is extraordinary. The circus skills are genuinely impressive: aerial artistry casting sweeping shadows across the stage, fire breathing, acrobatics, and a particularly gasp-worthy arrow shot that earned audible admiration.
Jai Morjaria’s lighting design enhances these moments beautifully, especially during numbers like ‘One Brick at a Time’, ‘Join the Circus’ and the rousing ‘Black and White’ – which accompanied by Dominique Planter’s vocals was particularly memorable.
The live band injects infectious energy throughout, from brassy marching rhythms, playful kazoos, to a delightful two-pianists-one-piano moment. Oti Mabuse’s choreography and Jonathan O’Boyle’s direction is punchy and purposeful – so much so that even setting a restaurant table becomes a mini production number worthy of applause.
Yet for all its vibrancy, Barnum occasionally feels as though it’s racing ahead of its own story. In attempting to chart the life of such a complex figure, the emotional beats don’t always land with the depth they deserve. The spectacle dazzles, but the narrative connection sometimes lags behind the chaos. It’s busy and relentless, much like Barnum’s own mind, but a little more breathing space might have allowed its heart to shine brighter.
Still, as Charity wisely observes, ‘You may not make much sense, but you are beautiful’, and that feels rather fitting. Barnum may not delve as deeply as it could, but it delivers colour, energy and undeniable theatrical flair. With sections of the audience rising to their feet last night, it’s clear many were more than happy to be swept up in the razzmatazz.
Grab your tickets here to join the circus this week.
Barnum is at the Grand Opera House York until Saturday 28 February. Tickets start from £15.
