Review: Barnum – Festival Theatre, Edinburgh

On paper, a revival of Barnum seems like a surefire hit for modern audiences hungry for spectacle. For those whose only exposure to P.T. Barnum is the glossy fairytale of The Greatest Showman, this 1980 Cy Coleman musical offers a portrait that is perhaps a shade closer to the complicated, often unsavoury truth of the legendary huckster.

Yet, whilst I’m sure this energetic, visually dazzling rendition of his life will pack theatres across its UK tour, I surprised myself by leaving the auditorium rather emotionally unfazed.

Don’t get me wrong, it is an exceptionally entertaining piece of stagecraft, but I should have felt more for the man behind the greatest show on earth. So why the disconnect?

Barnum UK Tour Review: Spectacle Over Story

The answer, I reckon, lies in Mark Bramble’s thin book. The plot essentially traces Barnum’s rise from a penniless museum proprietor to a globe-trotting impresario, chronicling his turbulent marriage to the pragmatic Charity, his infatuation with the ‘Swedish Nightingale’ Jenny Lind (a sweet-voiced Penny Ashmore), and his eventual partnership with James Bailey.

But rather than offering a meaty narrative, the script exists almost entirely in service to Coleman’s enormous musical numbers. Whatever fragile emotional core the story might possess is further suffocated by the production’s breakneck pace. Major life traumas, shifting political landscapes, and profound losses are swept aside in a matter of seconds.

“But rather than offering a meaty narrative, the script exists almost entirely in service to Coleman’s enormous musical numbers.“

We barely have a moment to register a tragedy before the company is cartwheeling back on stage, distracting us with yet another shiny object. As they say, ‘the show must go on’—but in Jonathan O’Boyle’s production, it goes on so fast that the quiet, human moments are mostly lost to the circus.

A Standout Cast Elevates Cy Coleman’s Score

Stepping into the demanding title role, Matt Rawle delivers a massive, show-stopping turn. The show might lack emotional breathing space, but Rawle leans into Barnum’s more unlikable traits, suggesting a performer playing a performer, without ever quite becoming a fully realised person.

While the blistering speed of Coleman’s more complex patter songs occasionally catches him out, he always recovers for the big finishes, and the auditorium is entirely behind him during the show’s famous mid-show tightrope walk. Opposite him, Monique Young brings a strong-willed exasperation to Charity Barnum. She sings beautifully and looks every inch the part, though one cannot help but wish the script didn’t reduce her to a waspish ornament.

**The Cast of Barnum UK Tour-Photo credit – Pamela Raith**

Beyond the leading duo, these narrative gripes can almost be forgiven when looking at the undeniable talent on stage. The 20-strong ensemble are the engine of this tour. To call them triple threats would be doing them a disservice; they are practically quintuple threats. Watching them seamlessly execute high-level acrobatics whilst collectively juggling over 150 live instruments—everything from a booming double bass to a whimsical kazoo—is a marvel. Oti Mabuse also deserves credit for the lively, well-marshalled choreography underpinning the relentless big song and dance numbers.

They elevate Cy Coleman’s vaudeville-infused score to dizzying heights. Numbers like the infectiously joyful Come Follow the Band are delivered with blistering brass energy, whilst the tender The Colours of My Life provides a rare moment of melodic warmth. Bravo, as well, to Tom Self as James Bailey, who injects a jolt of energy late in the second act during the rafter-raising Join the Circus.

“But rather than offering a meaty narrative, the script exists almost entirely in service to Coleman’s enormous musical numbers.“

On the technical front, the production is largely a triumph. Jai Morjaria’s lighting design cleverly contrasts the blinding, artificial glare of the showman with the few intimate shadows the pacing allows. And then, of course, there is the elephant in the room: a life-sized puppet of Jumbo that injects genuine awe into the proceedings—a flawless piece of stagecraft that left me thoroughly captivated.

In the end, would I recommend buying a ticket to Barnum? Yes, absolutely. I saw more than enough to convince me that if you are looking for a razzle-dazzle night of vaudeville escapism, this production will more than satisfy. It may be narratively shallow, but it is still one incredibly fun ride.

Featured Image: 263_PR_Barnum-2026_1