There are revivals that simply revisit a beloved classic, and then there are productions that completely reinvent it for a contemporary audience while preserving everything that made it special in the first place. This latest revival of ‘Barnum’ achieves exactly that. This vibrant touring production has arrived at Richmond Theatre bursting with colour, spectacle and seemingly boundless circus energy, and creating a celebration of theatrical imagination.
From the moment the curtain rises, the production embraces the organised chaos that surrounded the life and legend of P.T. Barnum. The stage becomes a playground of constant movement, with astonishing circus artistry seamlessly woven into absolutely every scene. Rather than feeling like separate variety acts inserted between songs, the breathtaking acrobatics, aerial work, juggling and balancing feats become fundamental to the storytelling itself, and the audience is never given a moment to look away. Yet despite the sheer scale of activity on stage, every movement feels purposeful and meticulously crafted.
The company is nothing short of extraordinary. Every performer demonstrates remarkable versatility, moving effortlessly between acting, singing, dancing and an impressive range of circus disciplines. As if this were not enough, many of the cast also perform live on multiple different musical instruments. It is rare to witness such a genuinely multi-talented ensemble delivering at such an exceptionally high standard throughout an entire evening, and yet you leave the theatre understanding that this is exactly what P.T. Barnum wanted to achieve.
At the heart of it all is Lee Mead, delivering what feels like a career-defining performance as P.T. Barnum. He captures the showman’s irresistible charisma with confidence and ease, balancing charm, vulnerability and theatrical bravado in equal measure. Mead wisely avoids turning Barnum into a caricature of flamboyance. Instead, he uncovers the humanity beneath the legendary showman, allowing the audience to connect with both his many dreams and flaws. Vocally, Lee is of course on magnificent form, his warm, expressive voice bringing both tenderness and power to Cy Coleman’s glorious score, and every scene is infused with his infectious enthusiasm.
Equally captivating is Monique Young as Charity Barnum, with a performance that provides the emotional heart of the production, grounding the spectacle with sincerity and warmth, ensuring Charity is far more than simply the woman behind the great showman. Her vocals are sensational, soaring effortlessly through the theatre while maintaining emotional intimacy. She also performs on both flute and piano throughout the evening, demonstrating the extraordinary versatility that defines this remarkable company.
Among an ensemble, Penny Ashmore delivers one of the evening’s most memorable supporting performances as Jenny Lind. Her operatic vocals are exquisitely controlled, filling the auditorium with remarkable clarity and elegance, while her accomplished harp playing adds an extra layer of authenticity and refinement to every appearance.
The wider ensemble deserves enormous praise, and whilst impossible to name all, there are a few standouts that should be called upon. Andre Rodrigues is a magnetic stage presence throughout, bringing charisma, precision and infectious energy to every number while demonstrating exceptional versatility across the production. Emily Odunsi repeatedly leaves the audience breathless with her spectacular circus artistry and fearless acrobatics, and James Gill is equally impressive, displaying extraordinary feats of strength during the strongman sequences.
Jonathan O’Boyle’s direction is simply masterful. Every inch of the Richmond Theatre stage is utilised with intelligence and imagination, ensuring the production never loses momentum despite its immense scale. The transitions are fluid, the storytelling remains crystal clear, and the pace of the show never falters. Amy Painter’s circus direction deserves equal acclaim, integrating breathtaking physical performance into the narrative with such confidence that it becomes impossible to separate the circus from the musical itself, whilst Oti Mabuse’s choreography is equally inspired, injecting every ensemble number with rhythm, character and exhilarating movement while complementing Painter’s circus elements beautifully.
Visually, the production is stunning, and Lee Newby’s inspired designs offer a fresh, contemporary interpretation of classic circus-tent aesthetics without ever losing the timeless charm audiences associate with ‘Barnum’. The costumes burst with colour and personality, while the set transforms effortlessly to support the ever-changing action. Jai Morjaria’s atmospheric lighting enhances every magical moment, guiding the audience’s attention while amplifying both the intimacy and spectacle of the production.
‘Barnum’ is musical theatre at its absolute finest. It respectfully honours the classic musical while embracing modern theatrical innovation, creating a production that feels nostalgic and refreshingly current. The result is a show that is spectacular, inventive and performed with astonishing skill, proving that the greatest show on earth can still leave audiences utterly spellbound.
‘Barnum’ continues its run at Richmond Theatre until 27th June, before continuing its UK tour. Tickets can be found here: https://www.atgtickets.com/shows/barnum/richmond-theatre/
Reviewer: Alan Stuart Malin
Reviewed: 23rd June 2026
North West End UK Rating: