★★★★

“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.

DEATH COMES TO PEMBERLEY

Theatre Royal Windsor

★★★

“for the most part the characters are gently engaging”

When P D James wrote “Death Comes to Pemberley”, she prefaced the novel with an apology to Jane Austen for ‘involving her beloved Elizabeth in the trauma of a murder investigation’. She surmised that had Austen wished to dwell on such ‘odious subjects’, she would have written the story herself, and ‘done it better’. The general reception to her novel disputed her modest self-criticism, however, and her sequel to ‘Pride and Prejudice’, written in the style of Jane Austen, was a blend of James’ signature crime writing and Austen’s sardonic romance. It wasn’t long before it was adapted for television, but it has taken a few more years for it to reach the stage.

Duncan Abel and Rachel Wagstaff’s adaptation is a remarkably faithful interpretation of the P D James mystery novel. It is the year 1803, and Darcy and Elizabeth have been married for six years and are comfortable in their orderly world on their idyllic estate of Pemberley. On the eve of their annual ball there is a storm. Elizabeth’s younger sister, Lydia, bursts onto the scene screaming blue murder. A corpse is found in the woods, cradled by Lydia’s blood-soaked husband. It appears to be an easily solved whodunnit. It isn’t, of course. That would make for a very short play. And this adaptation – which opened at the Mill at Sonning prior to its current tour – is most certainly on the long side.

It is not an easy story to adapt, yet Abel and Wagstaff do justice to both Jane Austen and P D James with a cast that authentically recreates the characters. There is inevitably an overreliance on exposition which causes the story to drag occasionally, but for the most part the characters are gently engaging. All eyes are bound to be on James Bye, fresh from his television persona as Martin in ‘Eastenders’. But Bye is unrecognisable, sensitively portraying the solid Fitzwilliam Darcy, adding an appealing vulnerability to his haughtiness. Jamie-Rose Duke places Elizabeth Darcy ahead of her time, unafraid to stand up to her husband but unashamed to stand by him too. The couple seem to be the only ones on the side of the prime murder suspect, George Wickham. He’s a dodgy fellow who does himself no favours, portrayed with infectious energy by Sam Woodhams. Woodhams also doubles as the terminally ill Will Bidwell – quite ironic given the role Will plays in the mystery, but I shall give nothing away.

As skeletons come out of the closet, the plot thickens, relationships tangle, intrigues intertwine, and class divides blur. The atmosphere is seldom fully realised, however, and there is little in the way of suspense. And an awful lot of lines are lost among problems of projection (James Bye is an exception, as is Sarah Berger’s matriarchal Lady Catherine de Bourgh). Director Jonathan O’Boyle ably steers the narrative through the woods, but never really breaks from a trot; particularly in the first act. After interval the pace quickens to a canter, but we want to feel as though we are galloping towards the conclusion. A sense of location is often missing too. Mike Robertson’s lighting attempts to lead us from the salons into the woods, but too much overspill leaves us hovering between the two.

Although it obviously helps, you don’t need to be familiar with Jane Austen’s ‘Pride and prejudice’ (or P D James’ sequel) to appreciate the story being told here. There is plenty to hang onto as the strands of the storyline come together and backstories are revealed. But we are hanging on precariously – the hold on our attention lacking the strength to keep us gripped throughout. It could be a wonderful blend of whodunnit and period drama but, despite the commitment of a fine ensemble cast, it is left swinging between the two, not entirely sure which to reach out for.

Tag Archives: Jonathan O’Boyle

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

DEATH COMES TO PEMBERLEY

★★★

UK Tour

DEATH COMES TO PEMBERLEY

Theatre Royal Windsor

★★★

“for the most part the characters are gently engaging”