Barnum – Birmingham Hippodrome

Some musicals are classics and last forever, strong enough to weather changes in socials mood and time and attitudes. Other pieces have their place, their period and should, thereafter, be quietly archived as a curiosity of its time. Barnum falls into the latter category. Not for any fault in the music which continues to be vibrant, lively and riddled with humble ear-worms, but because we are asked to support, empathise and care for a character whose real-life exploits are clearly questionable by today’s standard. In the hands of a beloved TV entertainer forty years ago this would have passed without remark but today it’s somewhat toe-curling. A tweak of a line here or there would’ve avoided that.

Barnum exploded on Broadway in the eighties with the multi-talented Jim Dale in the title role then in the West End with the even more multi-talented Michael Crawford whose performance, thankfully captured on tape, was legendary. Two engaging comic performers who carried a weak, episodic script and made it a hit. Since then, Paul Nicholas, Andrew O’Connor, Brian Conley are a few who have undertaken the role. Lee Mead is a great singer and leading man, but the part calls for an entertainer, like Barnum, desperate for audience approval and applause. He bravely undertakes everything asked of him and at the end gets a warm standing ovation.

Finding performers who can act, sing and dance is a tall order. Finding actors with those qualities and the ability to play an instrument and perform circus skills is an even taller order. Finding performers who have all those skills and wish to the tour the UK for Equity minimum is the tallest order of all. And those we have tonight make a solid job of it, though, there are too many moments when it all feels unsure and tentative. Some great aerial work and seesaw work bring the show to sporadic life, though.

Some odd directorial decisions and occasional inexplicable pauses make for a production which will, in time, grow, develop and achieve greater heights, but for now feels still a work in progress awaiting a stronger hand with a greater sense of showmanship to guide it. Set and costumes by Lee Newby bring the period to life, Zippo’s circus have had a hand in the circus training and it’s nice to see the RSC’s elephant, Jumbo, reappearing after it’s run in “The Magician’s Elephant.”

But the biggest star of the night is Cy Coleman’s luscious and eminently huggable score which soars and swoops, despite some erratic tempos tonight, and once took Torvill and Dean to success. That is the show’s greatest asset and it’s a delight to hear those songs once more.

Reviewer: Peter Kinnock

Reviewed: 22nd April 2026

North West End UK Rating: