Think The Greatest Showman but without the brilliant music and the moving storyline. In other words: The Showman. Barnum opened at Edinburgh Festival Theatre with a bang but not a lot more. It follows the life of the eponymous P.T Barnum, played by Matt Rawle, converting him from a man with a dream, a family, and a devoted wife to a player, a fraud, and an egotistical performer.
That is not to say that the show didn’t involve some good numbers, because it did. The largely ensemble performance was enjoyable, energetic and executed with precision; though I felt that the other circus performers, General Tom Thumb (Fergus Rattigan), and the 180 year old woman (Dominique Planter) were distant from the main narrative. They delivered their numbers well, but the characters were introduced to the audience, sang, and then dissolved into the ensemble for the rest of the show. Despite being a fairly fast paced performance covering a large period of time, I wanted more time to feel more invested in these characters.
However, I was interested in Charity Barnum’s (Monique Young) storyline and that of Jenny Lind (Penny Ashmore), as the pair had an excellent chemistry combined with a kind of friction. This rivalry held my attention as Ashmore’s humorous presence, striking costume and vocal talent managed to disrupt the seemingly steady relationship of Charity and Barnum. Again, I felt their interactions were truncated given that Lind and Barnum were having an affair for six months. Having said that, the one character we saw a lot of, I simply did not take to. Rawle could sing, act, and (although slightly random) complete the tightrope successfully, but his character was not likeable. His extra-marital philandering and humbugish nature dominated any investment I had in the fickle character, and the brushing over his flaws did not mean that I forgot them. The entire production therefore felt miscellaneous as the glue of the show was nothing short of dislikeable. I lacked attachment to any of the acts either in this circus, while they were impressive as was the large puppet elephant.
Perhaps I am not an enjoyer of a circus, as other members of the audience appeared engaged with the piece. However, Barnum was advertised as a circus musical, and as a fan of musicals, and in particular the Greatest Showman, the music in Barnum was frankly underwhelming. It was clear that the cast could sing, and while the musical numbers showcased their talents, the songwriting was rooted in circus tunes. The only breakaway from this was the much needed relief of Jenny Lind. Nonetheless, the circus jingle functioned as the walking bass of many songs and I can’t pretend it was overly pleasant on my ears. The lack of contrast between songs was staggering and although showman style, I felt the actors were asking for an applause rather than the audience instantaneously offering one at the end of a piece. In tandem with some incredibly shiny costumes, the all American circus was a bit of a disappointment because you are left craving more integrity to the characters and a score with more range.
The team created a musical that celebrates circus acts; so, if you enjoy the insincerity of a circus, this might be for you.
Barnum runs until 10 October at Festival Theatre, Edinburgh.
Image by Pamela Raith
