Barnum
Chichester Festival Theatre
Reviewed on Saturday 10th August 2013
Humbug. The art of humbug.
Before you think I've gone mad - I am not referencing the Charles Dickens classic "A Christmas Carol", nor am I making reference to the popular boiled sweet enjoyed by many! What I am talking about is the deception and trickery masterclass delivered by the charismatic Christopher Fitzgerald, currently leading the majestic cast of Barnum at the Theatre in the Park, Chichester.
The Cameron Mackintosh backed production has been playing to packed out audiences at the specially built venue, and after an afternoon of circus fun - it is easy to see why.
Being a newcomer to the show, I will admit I did not know what to expect. What I was presented with was the story of a man who wanted to be somebody. Phineas Taylor Barnum (Fitzgerald) was a joker, a player, a master of the Art of Humbug - spinning tall tales to all that would listen! The whole show was focused on the charismatic dreamer’s quest to be the best that he could be, making things happen no matter what, even if they weren't always as successful as he wanted them to be!
This show is very much focused on the man, some may say the legend – and although there is a hefty amount of circus spectacle added in for good measure, the moments of flare and jaw dropping skill are reserved for the times when they can create the most impact on the audience rather than just being placed into the plot for the sake of it.
One of the most outstanding aspects of this show has to be the multi-talented cast. From the star names, right down to the ensemble, everyone plays their part to absolute perfection. Christopher Fitzgerald leads the way as Barnum himself – and his fun, enthusiastic, joyous personality is absolutely infectious! You can’t help but warm to him throughout his journey and you so want him to achieve the brilliance he desires. In every scene he commands the stage and your attention is solely focused on his amazing skill and performance. There are times when some may say his voice isn’t as strong as they would expect – but the whole point of HUMBUG is to make people think what you want them to! If you are portraying a show of skill, such as Fitzgerald does in the Act 1 Finale, why would you be belting out a song as well? Too much perfection would put people off believing you – and this is what Fitzgerald does so well!
His relationship with the divine Tamsin Carroll (as Barnum’s long suffering wife Chairy) is also a high point of the show. The rollercoaster of emotions that both experience is a focal point, and the finale to their relationship on the steps of his political office is just heartbreaking. Carroll keeps a perfect balance between the comedic and more serious sides to her character and is a perfect match for Fitzgerald.
They are backed and supported by a superb ensemble who not only sing and dance but also become key props or parts of the set at the drop of a hat! Anna O’Byrne, as “Swedish Nightingale” Jenny Lind, is on sensational form and what a joy it was to see a comedic side to her performance. Within the magnificent space of the Theatre in the Park her angelic voice soars to new heights – at one point, literally! Aretha Ayeh (Joice Heth) is also a source of many laughs in her superb number, and Jack North (Tom Thumb) is one of the most talented dancers you are ever likely to see!
Barnum is a show full of love, joy and spectacle. It is hard to believe that you could find all this – and a full sized elephant! – in a tent in the middle of a park in Chichester but believe me, if you come follow the band, you won’t regret it!
Reviewed by Olivia Edmonds
Barnum runs at the Chichester Festival Theatre until 31st August 2013.
Please visit www.cft.org.uk/barnum for further information and tickets.
To read more of Olivia's work, visit www.thoughtsofablueeyedgirl.blogspot.co.uk
The differences between the show as I'd previously seen it (video of Michael Crawford's televised version recently, & as a kid when it was first shown on TV!) and Cameron Mackintosh's new version were interesting.
ReplyDeleteSome seemed directly linked to the circular shape of the stage. Some action took place on the staircases and upper levels behind the 'ring,' but in the Crawford version, these were used differently, as in when Barnum & Chairy watch from a box & react to Jenny Lind's first performance: in this new version, we do not see any reaction, as Barnum leaves the stage. The circular space is used more effectively with the elephant, however. The staging was changed, so that there was no illusion of General Tom Thumb being very small by use of giant props, but the stilt routine was excellent.
As mentioned before, there is no reaction to Jenny Lind's performance, & she goes from being a great worry to Barnum to performing her number without any of the coloratura showiness that reassured Crawford's Barnum: a pity, as Anna O'Byrne would have done a lovely job of it.
The main changes, to my ears and eyes, however, were in Act 2...
In Act 2, the number 'Black and White' was changed quite dramatically. Instead of being mostly a solo, sung by the actor also playing Joice Heth, it was sung with full company. There were a LOT of changes to the song: all for the better, I felt. In Crawford's version, he balanced atop a tower, which then toppled in a painful-looking stunt, to demonstrate the collapse of Barnum's architectural efforts, but this aspect was removed, and verses changed to emphasize a more topical house-price crash. Some speeches were changed to add Barnum's opinions on racial equality, which were not present in the original. I really appreciated this, because to me, these views were one of the real Barnum's most admirable achievements.
ReplyDeleteAfter the reprise of The Colors of My Life (during which I cried like baby)there were more big changes. The song The Prince of Humbug was cut altogether, and quite a long, contemplative piece entitled Barnum's Lament, incorporating many re-occurring musical themes was added. I have to say, that I enjoyed this segment of the show, for without it, Barnum must go very quickly from the depths of grief to a rip-roaring triumphal march. It was saved from being in any way mawkish or sentimental by the extraordinarily sympathetic performance of Christopher Fitzgerald, who had me in tears again. From the moment he appeared on stage and casually bantered with the audience, he set up an easy rapport. This, we told ourselves, was a good man, for all his tall tales.
I had gone fearing the show might have lost something in translation, but found it had gained more warmth and depth than I had ever expected. Bravo to all concerned.
My small daughter adored it, and wept bitterly that she couldn't meet Tamsin Carroll, who played Chairy, as she loved her performance and wanted to play that part herself one day. She was, however, delighted to meet Christopher and Anna O'Byrne, who have my deepest gratitude for their patience with a theatre-mad five-year-old.