BARNUM

BARNUM

CAODS at the Civic Theatre, Chelmsford

29.09.16

What a trooper !

Phineas T Barnum, showman extraordinaire, master of flim-flam and humbug, is, he might boast, a role in a million.

And here's charismatic, cheeky Simon Bristoe thwarted at the final hurdle by an unfortunate accident. In the West End, of course, that'd be another big-name no-show. But not for CAODS. Brave Mr Bristoe limps gamely through the show – no high-wire for him, of course, and limited dance, but a performance of admirable pizazz and pathos as the legendary impresario. He has an excellent voice for the role, too, though microphone problems robbed us of the opening Sucker number.

Not quite a three-ring circus, but by no means a one-man show. Stand-out performances from Rachel Summers as the Swedish Nightingale, Oli Budino as a lively Tom Thumb [an excellent number with a giant chair and stilt-walkers] and Claire Carr as PTB's long-suffering proto-feminist wife. Great work too from Barry Hester's Ringmaster and Bailey, and Tamara Anderson supplying smoky vocals in the impressive Black & White number. Brad Wendes contributed his circus expertise and some thrilling stunts.

Ray Jeffery's energetic production was a treat for the ear [Bryan Cass the MD] and the eye: the gilded chorus girls, the bright, breezy Follow the Band, and, amongst the quieter moments, the reprise of Colours of My Life, with the passing of Charity poignantly suggested by a muted chorus of jugglers.

The show-stopping Circus number was a carefully crafted crescendo of tricks and tumbling, stopping just short of the circle of fire …

Excellent work from a huge company, colourful and constantly enjoyable. Much more impact than the recent Chichester production; as Colonel Tom Thumb reminds us, Bigger is not always Better.

production photographs Christopher Yorke-Edwards

BARNUM

BARNUM

Chichester Festival Theatre in the Park

31.08.13

"Barnum’s the name, P T Barnum, and I want to tell you that tonight, on this stage, you are going to see - bar none - every sight, wonder and miracle that name stands for!"

Well, he was always the king of hype, and, while this new Barnum has lots of colour and circus action, there are holes at its heart that make it difficult to love.

The auditorium is certainly impressive – circus tent on the outside, a near-replica of the old auditorium within. Should be an ideal space for this show … But for me, there is none of the warmth and immediacy we've come to expect; a lot of the energy, and the decibels, seem to be lost in the lofty rafters.

The show, even after careful tweaking by Cameron Mackintosh and others, even with Chichester's track record and Director Timothy Sheader's expertise, fails to set the world alight. The numbers are snappy, though, the choreography often impressive: the stairs and the dressing table, the one brick at a time routine.

Barnum's story is full of incident, but short on drama. And Christopher Fitzgerald's pocket-sized PTB, strong on energy and circus skills, lacks the charisma, and sometimes the voice, to carry the role. His long-suffering, sensible wife Chairy is nicely done by Tamsin Carroll. A brilliant ensemble tumbles and abseils round and about the action, and there are very pleasing cameos [all genuine Barnum freaks] by Aretha Ayer as Joice Heth ["the oldest woman in the world"], Jack North as a very lithe General Tom Thumb, and Anna O'Byrne as the Swedish Nightingale. Her entrance on the swing, stunningly lit, is, like North's number with Jumbo, a definite highlight.

Every effort is made to get the show across the footlights – performers and brass players venture up into the audience – but while we might walk back across the park whistling Follow The Band, we don't feel that this was an exhibit that begged to be revived. I'm not expecting to see this follow Singing In The Rain and The Pajama Game into the West End …