Theatre Run: Tuesday 27 - Saturday 31 January 2014

Performance Reviewed: Tuesday 27 January (Press Night)

Raise the tentpole and roll out the superlatives - the first name in (Victorian era) entertainment is back in town and bringing the circus with him, as the spectacular, spectacular spectacle that is Barnum arrives in Wolverhampton and proves that some masterfully executed razzle dazzle and big top-tier showmanship is as timeless as it is tremendous. Brian Conley, a natural fit for the legendary, titular impresario, wheels out a performance that erupts with charisma, charm and his own trademark Earthy swagger and naturalism, carrying a grand, show-stopping production that radiates colour and pizazz, and plenty of humour and heart, all gleaned to an extremely polished sheen, that it’s not difficult to imagine the show’s namesake himself being won over by the kaleidoscope of wonderment on offer.

Based on the extraordinary life and memoir of American showman and businessman P.T. Barnum, perhaps Barnum’s greatest strength, aside from the immeasurable asset of Conley in the leading role, is in how it’s book and score put the spectacle and the extraordinary front and centre, whilst still telling a surprisingly poignant and emotional account of Barnum’s life story. Often, musicals based on real-life success stories mould themselves in a plodding, tried-and-tested formula of vignette, copy-and-paste, as I recently bemoaned in my review of the still-excellent Jersey Boys. Barnum, on the other hand, takes it's cue from it's lead characters tendency to ‘humbug’ and ‘add trimmings’ to reality, and repeatedly hurls the amazing and the too-good-to-be-true-but-it-actually-was at the audience with both relish and aplomb. From an initial museum of oddities containing the suitably ludicrous worlds smallest man (Tom Thumb, no less) performing alongside the worlds largest elephant (Jumbo, naturally), to a lost-in-translation Swedish opera singer who temporarily waylays Barnums affections, through to ultimately a rousing circus finale, Barnum understands that its remit is to entertain, and does so first and foremost. Yes, the DNA of the same old ‘selected highlights’ or ‘best bits’ formula is there beneath the bright lights and big numbers, but it all feels so energised and electric, and the central relationship between Barnum and his wife Chairy (Linzi Hateley) is so winningly authentic and underplayed, that the leaps in time and logic do nothing to sully enjoyment of the show. If anything, the show cleverly plays up it’s own segmented approach with a ringleader commentator (John Stacey) overseeing proceedings and wittily guiding us through the narrative long before Rob Marshall and forebears pinched the idea for Chicago.

It’s difficult to imagine more ideal casting in the lead role than Brian Conley, so numerous and evident are the parallels between actor and role. A consummate showman, Conley works the audience and the stage with complete confidence and command - and as an added bonus his innate likability and affinity for interacting with members of the crowd get put to particularly good use throughout. His P.T. lingers somewhere between the in-universe world of what is transpiring, and the auditorium of the present, dipping back and forth between the story and the room. In the hands of a lesser performer, it would seem jarring, breaking the fourth wall with the subtlety of a sideshow sledgehammer, but Conley treads the balance masterfully. He handles the musical numbers well, in particular the tongue-tying vocal gymnastics of ‘The Museum Song’, and if some of the bigger notes fall slightly on the raspy side, they nevertheless seem to fit neatly with Conley’s slightly more rough ’n ready take on the character.

He is ably met by a solid company and supporting cast, including the ever-reliable Landi Oshinowo in multi-role mode, an early highlight as the ‘worlds oldest woman’, and relative newcomer Mikey Jay-Heath, who shows tremendous promise mining the most out of his all-singing, all-dancing sequence as diminutive Tom Thumb. Linzi Hateley, meanwhile, is earnest and complementary as Barnum’s long-suffering wife, Chairy, who may or may not be the real brains behind the outfit, and certainly its heart. Pivotal moments in Act II, in particular, which would likely feel laboured or perfunctory in less sincere hands, really compound not only how much an audience has grown to invest in the central relationship and marriage between the two, but also how well Hateley and Connely have sold us on them being the real thing.

Barnum is a big, grandiose optical feast of a theatrical treat; one of the most visually stunning touring productions of recent years. The story demands it, and this latest revival production more than delivers. Paul Wills’ costume design, Scott Pask’s scenic and set work and Paule Constable/Richard Pacholski’s lighting all harmonise with a clear goal to astound and amaze, and they succeed entirely. Again, Barnum himself would be hard pressed to find fault with the aesthetics and achievements both technical and artistic on show. If you need any further proof that touring theatre need not compromise on the style and spectacle of the West End, you have it here. Neat touches such as a pre-show performance featuring juggling, acrobatics et al which seep out into the audience and even into the circles announces early on that Barnum has a *show* to put on, and you will be entertained.

Barnum blends a safe, conventional yet wholly convincing love story with a liberal dose of stranger-than-fiction biography and an explosion of exquisite, extraordinary showmanship. It may not re-invent the wheel, but it grasps that wheel, hurls it in the air, sets it aflame then has someone jump straight through it. With a wonderful central performance and production values that would be the envy of even some of the London elite, be sure to follow the band and join the circus, for here is a show that raises the bar-num of shamelessly exuberant and consummately enjoyable musical productions; a three-ring, five-star delight of a show.

 

RATING - * * * * * (5 out of 5 Stars)

 

BARNUM is running at the Wolverhampton Grand Theatre from Tuesday 27 to Saturday 31 January 2015.

CLICK HERE for more information on the show's run at the Grand and to book your own tickets!

Alternatively, telephone the theatre's Box Office direct on 01902 429212.

 

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Press tickets for this performance of Barnum were provided courtesy of the Wolverhampton Grand Theatre directly. The author gratefully acknowledges their generous invitation.