Barnum – Menier Chocolate Factory, London

Laura Pitt-Pulford and Marcus Brigstocke in Barnum at the Menier Chocolate Factory. Picture: Roy Tan

Barnum continues at the Menier Chocolate Factory, London until 3 March 2018.

Star rating: four stars ★ ★ ★ ★ ✩

Barnum – “The Greatest Show on Earth” – has, like some double-jointed contortionist worthy of the titular showman, managed to flex, twist and squeeze its way into one of London’s smallest theatres. And the result is surprisingly successful, thanks to a likeable – if unsteady – leading man and a fantastic supporting cast.

The 1980 musical by Cy Coleman (music), Michael Stewart (lyrics) and Mark Bramble (book) is a fairly straightforward if potted biography of the self-aggrandising purveyor of humbug Phineas Taylor Barnum.

It’s told chronologically as a series of almost-expressionistic vignettes, each introduced by a Ringmaster barking a quick synopsis of what’s to come. Most scenes are topped and tailed – and often accompanied – by all manner of circus shenanigans, from jugglers, fire-eaters, acrobats and clowns, and while it’s not the highest form of musical theatre, it’s an enjoyable, crowd-pleaser with plenty to keep the senses stimulated.

This is no less true of Gordon Greenberg’s sparkling new London revival at the Menier, which is highly entertaining. Be content to not compare this chamber version with any of the epic tent-pole productions of the past and you’ll leave with a giant grin across your face. You’ll also leave – via the “egress”, of course! – amazed that so much can be squeezed into such a small venue.

(The theatre itself has been transformed throughout into a canvas-lined three-ring circus, complete with memorabilia from Barnum’s American Museum – look out for the ‘Pea from the Last Supper’, among other flimflam – and a pre-show from the cast performing magic tricks in the foyer. Oh, and be sure to wave to the mermaid on your way out!)

Teetering his way through the role of Phineas Taylor Barnum is Marcus Brigstocke, who never feels quite relaxed enough to let the audience relax, but who is just so damned likeable you can’t help but root for him.

He has a nice enough baritone voice, but it’s not for his singing that Brigstocke’s been hired. What he brings to the role is a genuine humanity and authenticity – notable among the rest of the fantastical dramatis personae. He’s a decent actor, and his focus is firmly placed on conveying Barnum’s story without too much distraction. No unicycling or trapezing for this leading man…

Well, he goes have a game attempt at negotiating the notorious tightrope number, ‘Out There’. I don’t think I’ve ever rooted for anyone more than I did for Brigstocke during this song, and was gutted for him when he failed to make it across. (He’s only made it twice in previews, I’m told. Bless him, but I’m sure Jim Dale – who originated the role on Broadway – told me it took him a long time to nail this number without taking a tumble, so Brigstocke’s in good company.)

Acting as Barnum’s metaphorical safety net is his wife Charity, played by the ever-reliable Laura Pitt-Pulford. Here’s a performer who never puts a foot wrong, and her Charity is beautifully sung and acted – a faultless performance, really. Her scenes with Brigstocke are genuinely heartfelt and the pair make for a believably loved-up couple.

Great performances are also dished out by the supports. Tupele Dorgu is hilarious as Joice Heth – the (supposedly) 160-year-old nurse to George Washington. Her ‘Thank God I’m Old’ is terrific and totally action-packed, thanks to Rebecca Howell’s spectacular choreography. Indeed, the movement – using every inch of the circular Menier – is impressive throughout.

Talking of which, the nimble Harry Francis delights as General Tom Thumb, whose ‘Bigger Isn’t Better’ has him flying, legs akimbo, all around the stage. Like the rest of the misfits in Barnum’s troupe, Tom Thumb doesn’t get much character development – Bramble’s rather hagiographic book isn’t without its faults – but his set piece is a showstopper.

The perfectly cast Celinde Schoenmaker gets a little more opportunity to develop her character, finding hidden shallows in the flirtatious opera singer Jenny Lind – the Swedish Nightingale. She of course knocks the vocals out of the ring with ‘Love Makes Such Fools of Us All’.

And top hats must also be doffed to Dominic Owen for his excellent turn as the Ringmaster.

Visually, it’s all stunning, wrapped up beautifully in Paul Farnsworth’s circus-inspired designs and costumes. And dressing the set better than any prop is a cast of genuine acrobats and circus performers, all of whom wow the audience with their in-your-face tricks and stunts. (Well done to Owen Winship for ploughing through the final number with a very revealing split in his leggings – I didn’t know where to look as he climbed that tent pole!)

Musically, it’s in the safe hands of MD/pianist Alex Parker, and his fabulous 10-piece band – whom we get to meet during the show’s most famous number, ‘Come Follow the Band’, as they stomp their way around the stage and accompany a bit of audience participation from those offered kazoos. Kudos to sousaphonist Adam Crichton for leading the march…

Sound-wise, I struggled to catch a lot of Michael Stewart’s wonderful lyrics – the mics often couldn’t quite compete with the band – but it’s become a regular bugbear of mine. Perhaps I’m just getting old.

So, on the whole, Barnum is a winner, as far as I’m concerned. I’m sure that once Brigstocke settles into the role, he’ll lose his occasional trapped-in-the-headlights look and enjoy the limelight instead.

There’s something in this show for everyone, and if you’re after a fun, enjoyable night out at the theatre (or indeed circus), you would do well to “plunk your quarter on the line” and enjoy this “brand of genuine malarkey”.

Craig Glenday

www.menierchocolatefactory.com

Readers may also be interested in:

Interview – Celinde Schoenmaker on playing the real-life Jenny Lind in Barnum at the Menier Chocolate Factory