The circus has come to town, and we headed to York’s Grand Opera House to see Barnum, The Circus Musical
At first glance, you’d be forgiven for thinking that this show is a stage adaptation of The Greatest Showman. It isn’t, although a theatrical version of the hit Hugh Jackman film is coming.
Barnum predates this by decades, starting first on Broadway in 1980 then London’s West End the following year. The title role was popularised by Michael Crawford – famed for his Phantom (of the Opera) and, yes, Frank from Some Mother’s Do ‘Ave Em. Ooh Betty!
In this 2026 revival, Any Dream Will Do winner Lee Mead steps into the ringmaster’s boots. Mead has plenty of presence and charm, as he humbugs his way through the life of Phileas Taylor Barnum.
Mead walks a fine line – literally and figuratively – between conman and showman. The American accent never waivers, and there are some sharp comedic moments and asides with the audience. He’s strong vocally too, and boasts an impressive range.
Wife Charity (Monique Young) grounds Barnum and takes no nonsense. Young plays her with a real authenticity, and the chemistry between the pair is believable. Penny Ashmore’s Swedish opera sensation Jenny Lind is a triumph, with powerhouse vocals and elegant harpistry.
The huge ensemble sees a talented troupe playing over one hundred live instruments. This adds an extra dimension to an already vibrant show, but at times levels aren’t balanced and we struggle to hear the vocals.
Although dubbed a circus musical, it isn’t until the end that Barnum moves into the big top with business partner Bailey. Circus acts pepper the action throughout though – everything from aerial skills, acrobatics, contortion, juggling, fire breathing, and a tightrope act (walked by Mead himself) These are impressive but can sometimes feel superfluous.
Instead of focusing on the circus itself, the plot follows earlier sideshow acts such as the world’s oldest woman Joice Heth (Dominique Planter) and the diminutive Tom Thumb (Fergus Rattigan)
Both performers have strong solos, and Rattigan’s Bigger Isn’t Better gets rapt applause. He’s joined by Jumbo the Elephant too, from a family of puppet pachyderms we’d seen previously in Circus 1903 in London. Think War Horse meets circus.
Lee Newby’s design is perfect, and really sets the scene of 1800s America. It’s circus but with that vintage edge; the slightly muted colours and lamplit haze. Costumes are tip-top too – from Lind’s opulent frocks to a troupe of stylised sad Pierrots. Mead’s own clown in the second act is adorable.
Choreography is by renowned Strictly Come Dancing dancer Oti Mabuse, and is slick and polished throughout. Sensibly, the creative team have hired consultants – such as Zippos Circus, and magician Richard Pinner – to offer expert guidance on these specific arts. Magic in The Colours of My Life is a nice touch.
Where Barnum perhaps falls short is that the musical itself is a little dated and shows it’s age. Comparisons to The Greatest Showman are inevitable – and that brings a modern twist to an age-old story, with a fresh new score and arguably more memorable songs.
Although delivered with an abundance of energy and talent, the songs here are sometimes forgettable and some tend to drag. The first act runs long, and the pace dips at times – especially during Barnum’s foray into politics later.
That being said, if you’re a fan of Barnum already then this is a solid production. Expect plenty of razzle dazzle, a sumptuous set, a huge cast of actor-musicians and circus skills aplenty. The rousing finale of Join the Circus is a feast for the senses, and there’s an undeniable appreciation for this huge cast and unseen hardworking crew.
Pack your trunk (elephant pun) and Follow the Band for a circus extravaganza.
Barnum The Circus Musical runs at York’s Grand Opera House until Saturday 28th February. Roll up, roll up and book your tickets at https://www.atgtickets.com/shows/barnum/grand-opera-house-york/
Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.
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