Review: Barnum (Touring)

Tuesday 24th February 2026 at the Grand Opera House, York

⭐️⭐️⭐️

Barnum, with book by Mark Bramble and direction from Jonathan O’Boyle, approaches the P.T. Barnum story in the same vein as the man himself went about his business: loudly, brashly and unapologetically. It’s all bells and whistles here, with singing, dancing, magic and circus skills… and yet somehow it feels too monochrome in its lack of respite from the tumult. What the show lacks in nuance and variety of energy levels, it makes up for in the skill of its cast however, making the show entertaining if not altogether satisfying.

Lee Mead is a worthy lead as  P.T Barnum himself, the man straddling well-meaning theatrical magic and opportunistic hood-winking of eager paying customers (most recently blown up for the big screen in The Greatest Showman). Chirpy, immovably optimistic and always looking for the next big thing, there’s little let-up to Barnum’s energy, and Mead handles it well. 

Monique Young plays Charity Barnum with a tightly wound edge, in a frequent state of either feigned or genuine exasperation at her husband’s antics, while Penny Ashmore provides a poised Jenny Lind carrying a comedic edge and a wonderful voice. Dominique Planter also brings some beautiful vocals as Joice Heth, while Emily Odunsi and Niki Tsonopoulou impress tenfold with their astounding circus skills and acrobatics (Circus director:Amy Panter).

One of the biggest strengths of the production, aside from its vocalists and circus performers, is Lee Newby’s stage design, with a beautiful theatre backdrop and some very elegant costume designs bringing plenty of welcome visual variety.

There are some questionable moments which don’t quite land, including the demise of a particular character and an insistence on those with limited vocal abilities being given big numbers, but it’s possibly the music that makes the show struggle overall. Cy Coleman’s work is enthusiastic to say the least; an upbeat backdrop right up until we meet the harp-playing songbird employed to give Barnum’s side show some serious credibility. 

The problem is that while the music certainly sets a lively tone and gives a sense of pace, the old-fashioned plinkety plonk style is overblown, over-used and over-loud, often drowning out lyrics from Michael Stewart and detracting from attempts to give the story some softness. It definitely starts out charming and transporting, but the constancy of it brings to mind those Insta reels which start with pretty melodies which warp into discordant notes as disappointment lands… 

Barnum is definitely a mixed bag – but worth it if you’re keen to see some great circus performance alongside some beautiful voices and a relatively familiar story.

Barnum is at the Grand Theatre and Opera House, York until February 28th 2026 – more information and tickets can be found here.