★★★★

“bursts with colour, energy and theatrical magic”

Follow that band to the Cambridge Arts Centre for ‘Barnum: The Circus Musical’ on its UK tour. Bursting with energy, circus spectacle and infectious charm, its more layered take on P.T. Barnum adds welcome depth to an already entertaining show.

Young Barnum is determined to make his mark, peddling a little “humbug” and a lot of ambition. While devoted wife Charity tries to keep him grounded, Barnum never stops reaching skyward – though what will be waiting when he gets there?

Mark Bramble’s book has a welcome edge, balancing showmanship with cynicism of Barnum’s ‘talents’. While it glosses over the darker realities – for example, Joyce Heth was a real enslaved African-American woman whose exploitation continued after her death – and leans into a fictional romance with Jenny Lind, this version has more bite than you might expect from a circus musical.

Cy Coleman’s toe-tapping score and Michael Stewart’s witty lyrics – vividly arranged, orchestrated and supervised by George Dyer – capture the spirit of classic Americana. From the breathless patter of ‘Museum Song’, to crowd-pleasers like ‘One Brick at a Time’, ‘Come Follow the Band’ and ‘Join the Circus’, the music has a gloriously uplifting energy – that is, until Jenny Lind’s haunting ‘Love Makes Such Fools of Us All’, filled with chromatic contrast and beauty. Musical director Ben Scott and deputy Tom Sowinski ensure the onstage orchestra delivers a vibrant, energetic sound that’s guaranteed to get toes tapping.

Jonathan O’Boyle’s inventive staging transforms the theatre into a bustling circus tent, drawing the audience straight into Barnum’s world. There’s no shortage of wow factor, with Amy Panter’s expertly choreographed circus acts delivering one visual thrill after another. Though the sheer abundance of activity can sometimes feel a little overstimulating and threatens to dilute the emotional arc, the production’s sense of wonder rarely falters. And the cherry on this jam-packed cake is the tight rope walk, completed by Barnum himself!

Oti Mabuse’s thrilling choreography, co-created with Matt Nicholson, is a real highlight. Bold, precise and packed with energy, it gives the production a welcome freshness without losing its old-school charm.

Lee Newby’s vibrant set and costume designs lean beautifully into the show’s colourful metaphors, especially the monochrome sequence bursting back into glorious technicolour. Jai Morjaria’s lighting deftly guides us through Barnum’s public persona and private reflections, while Tom Marshall’s sound design lands with impact. Adding an extra touch of theatrical magic, Significant Object’s puppet team and director Helen Foan bring Jumbo the elephant charmingly to life, though some extra height would make this giant even more impressive.

Matt Rawle brings plenty of warmth and charm to Barnum, backed by strong vocals and an impressive tightrope walk. If Rawle occasionally feels a touch understated against the production’s constant fizz, his easy charisma keeps him centre stage. Monique Young shines as Charity, delivering powerful vocals and dance work. Penny Ashmore is a standout as Jenny Lind, combining soaring soprano vocals with harp playing and pointe work to captivating effect. Dominique Planter brings warmth, wit and richness to Joyce. However, the ensemble truly deserves tonight’s ovation, not only singing, dancing and acting but playing instruments and nailing the acrobatics to boot! The company’s incredible versatility is dazzling.

‘Barnum: The Circus Musical’ bursts with colour, energy and theatrical magic. A few tweaks would elevate it further, but the extraordinarily talented cast makes it an irresistible night at the theatre.

I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL

Troubador Wembley Park

★★★½

“a vibrant celebration of Black female strength”

Legend Chaka Khan puts her story centre stage in ‘I’m Every Woman: The Chaka Khan Musical’. As jukebox biopics go, it has real strengths even if some elements are still finding their form – but that doesn’t mute the momentum of the performances or the music.

We open with Chaka Khan – born Yvette Marie Stevens – and her family in a rehab centre group therapy session. How does young Yvette become the “Queen of Funk” and how does adult Chaka untangle the emotional wreckage she gathers on the way?

Nia T. Hill’s writing does a stronger job than most biopic musicals of balancing respect with grit, offering a fitting homage to a living legend without shying away from stickier subjects – especially the impact on Khan’s family. That said, some dialogue feels a touch overwritten and Act Two needs tightening. The twist involving Marie could also use more crafting – you can spot it long before the reveal, which blunts an otherwise dramatic and visually stunning moment. Still, the piece has real teeth and heart, which is a tricky balance to land.

Racky Plews’ direction has genuinely inventive touches – such as the frenetic dance sequence charting the rise and fall of Khan’s second marriage, and the striking moment where she finally unlocks the doors suppressing her pain. For me a standout moment is Joni Mitchell’s haunting rendition of ‘I Put a Spell on You’, which Sophie Earl delivers with luminous intensity. Some elements could use refining: Khan is the show’s emotional core, and while the vocals are there, the grounding is less consistent. Marie’s characterisation is a little contradictory – she reads as a comedic caricature early on, perhaps signalling her twist too soon, and yet the ensemble seems to interact with her. Refine these elements and you’re looking at a commanding production.

Khan’s iconic repertoire is the backbone of the score, gorgeously reimagined by Mark Crossland – especially ‘I’m Every Woman’, which weaves through the show in strikingly different forms. It’s refreshing, too, for a single artist jukebox musical to feature other popular tracks, neatly avoiding the common trap of shoehorning in lesser known songs. Still, there’s an over reliance on presenting numbers as shows within a show, which feels less inventive. The live band, however, does a superb job of bringing the score to life.

Ebony Clarke’s choreography cleverly charts the decades, giving each era a distinct feel without tipping into over familiarity. The balletic marriage sequence is especially striking – unexpectedly sharp until the speed of the relationship’s collapse becomes clear.

Sara Perks’ set design mixes moving panels and projections with finesse, shifting eras and locations seamlessly. It’s also impressive how quickly a full live band appears and disappears. Zoe Spurr’s lighting is stunning, blending classic stage looks with concert style roving spots and disco flourishes. Chris Whybrow’s sound is strong overall, though a couple of mics sound a little muffled. Natalie Pryce’s costumes capture each era beautifully – sharp, stylish, and consistently striking. J.J. Wiggs’ WHAM design charts Khan’s hair history with charm and precision.

Few performers could match Chaka Khan’s iconic vocals, yet this cast rises to it. Alexandra Burke proves she is a star, with phenomenal vocals and commanding stage presence as Khan. The ensemble – including Chrissie Bhima, Ashley Stroud, Charlotte St. Croix, Miles Anthony Daley, Jelani Munroe, Sophie Earl, Maryla Abraham and Daniela Morain – is so strong it’s a challenge to single anyone out, though Bhima’s mercurial Marie, Stroud’s feisty Taka, Earl’s arresting Joni and Daley’s effortlessly smooth Richard give Burke real competition.

‘I’m Every Woman: The Chaka Khan Musical’ is a vibrant celebration of Black female strength, with a surprisingly open heart. With some focused editing, it’s poised to become an audience favourite.

Tag Archives: Hannah Bothelton

BARNUM

★★★★

UK Tour

BARNUM

Cambridge Arts Theatre

★★★★

“bursts with colour, energy and theatrical magic”

BARNUM

Cambridge Arts Theatre then UK tour continues

Reviewed on 18th August 2026

by Hannah Bothelton

Photography by Pamela Raith

BARNUM

BARNUM

BARNUM

I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL

★★★½

Troubador Wembley Park

I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL

Troubador Wembley Park

★★★½

“a vibrant celebration of Black female strength”