Cambridge Arts Theatre, Cambridge – until Saturday 22nd August 2026
Reviewed by Steph Lott
4****
Walking out of “Barnum the Circus Musical” at the Cambridge Arts Theatre on Tuesday evening, I found myself caught between conflicting emotions. The audience rose to their feet in a standing ovation, and visually, I couldn’t fault what I had seen. Yet for all its theatrical fireworks, this circus musical left me somewhat emotionally unmoved.
Let me start with what genuinely impressed me. The sheer ambition of staging a circus musical in such a confined space is audacious, and the actor-musicians deserve enormous credit. Playing over 150 instruments live, they created a soundscape that was both intricate and infectious, providing the propulsive energy that kept scenes moving when the narrative threatened to stall. Oti Mabuse’s choreography was impeccably crafted—the dance and circus moves performed in that tight venue were extraordinary. How the cast managed genuine acrobatics and aerial work without injuring themselves remains a mystery to me.
Lee Newby’s set and costume design transported us genuinely into a 19th-century circus. Every detail felt authentic and lovingly rendered, from the aged canvas to the period costumes. Even the elephant (yes, a theatrical one, but utterly charming) added warmth that the human leads couldn’t quite manage.
And here’s the puzzle: surrounded by such technical brilliance, why did I care so little about P.T. and Charity Barnum? Matt Rawle and Monique Young are clearly talented performers, yet their characters felt like ornaments rather than people. The razzmatazz—which should have enhanced their story—instead suffocated it. There’s so much to look at, so much spectacle, that quiet character moments are drowned out. We see P.T. perform success, but we never understand what drives him. What does he truly want? What does he fear losing? Without answers, he remains a performer playing a performer, never quite becoming a person.
The narrative itself lacks tension and pace, which compounds the problem. There are big traumatic events within the story but Barnum shrugs and moves on. However, I did really enjoy Penny Ashmore’s charming performance as Jenny Lind, the Swedish Nightingale. In a supporting role, she sang beautifully and she really looked the part.
Barnum is undoubtedly a technical triumph—a production that showcases genuine theatrical artistry and ambition. But spectacle alone cannot sustain a two-hour musical.
Great theatre balances the dazzle with genuine human emotion. Here, the razzmatazz gets in the way of the story rather than serving it. You leave impressed by what you’ve seen, but unmoved by why you should care.
However, this does not mean you shouldn’t go and see it. Barnum is absolutely worth experiencing for its sheer theatrical ambition and the brilliance of the ensemble. If you love spectacle, technical mastery and circus artistry, this production will dazzle you. And that alone makes it splendid entertainment.