BARNUM - THE GREATEST SHOWMAN ON EARTH.
Book by Mark Bramble. Lyrics by Michael Stewart. Music by Cy Coleman. Directed by Anita Davenport. Musical direction by Rhys Madigan. Choreography by Jodi Hammond. Designed by Ian Croker and Steve Galinec. Costumes by Chelsea de Rooy. Canberra Philharmonic Society. Erindale Theatre. August 23 – September 8 2018.
Reviewed by Peter Wilkins
Philo’s Barnum bursts onto the Erindale stage in a cascade of colour and
movement, music and song, and magical entertainment. Canberra’s veteran musical
society has pulled another rabbit out of its hat. Simply set within Ian Croker
and Steve Galinec’s colourful circus
setting, the open stage is freed up for a parade of circus acts, intimate
vignettes and jubilant ensemble numbers, such as Come Follow the Band. Where
to look as a unicyclist sweeps across the stage, aerialists float on high, jugglers
spin their clubs, the strongman flexes his muscles, clowns pedal their strange
contraption, and the magnificently metal elephant ambles onto the scene. Philo
has pulled out all stops to stun the audience with spectacle and skill in the
spirit of Victorian entrepreneur and dreamer, P.T.Barnum. Anita Davenport’s
direction keeps the stage alive with action and fun, while Jodi Hammond’s
choreography showcases the skill of the trained dancer with simple but
effective choreography for the untrained members of the show’s exuberant
ensemble.
Bringing Mark Bramble’s book,
Michael Stewart’s lyrics and Cy Coleman’s musical about the enigmatic showman,
Phineas Taylor Barnum to the stage is no easy feat. It is difficult enough for
a professional company, let alone an amateur company of enthusiastic and talented
performers and creatives. That Philo has embraced the task with such vigour,
joy and inventiveness is to the credit of the entire company, and their
ingenuity in demonstrating the talents of the company within the limits of the
company’s resources. Nothing is compromised to bring a first rate entertainment
to an appreciative audience, which once more attests to the high standards of
Philo’s productions in recent years.
The cast do the best they can
with a flawed book. Bramble sketchily outlines the episodes in Barnum’s life
from his inspired desire to create a circus of special people through the
trials and tribulations of his career and private life to the meeting with
Bailey (Paul Sweeney), prior to the creation of the great Barnum and Bailey
partnership. Greg Sollis is more dreamer
than entrepreneur with a flair for humbug. It is an engaging and appealing
performance that capture’s Barnum’s vulnerability and reliance on his wife’s practical and
reassuring support. Julia Walker shines with star quality as Barnum’s wife, Charity.
She epitomizes the Victorian steadfastness, practicality and loyal devotion
with an air of calm command. Her singing exudes a beautifully sustained
authority and gentle tenderness. In her debut Canberra performance, Walker
offers great promise in roles to come.
Philo has gathered together an
excellent principal cast including Meaghan Stewart as a comically delightful
one hundred and sixty year old Joice Heth, Mark Zatschler’s bright and bold
General Tom Thumb, Paul Sweeney’s physically striking Strongman and Dickensian
circus manager, Bailey. Kate Tricks offers a music hall cameo as the Blues
Singer of Black and White, supported
by the ensemble in Chelsea de Rooy’s cleanly coordinated costuming. Demi Smith
hits the high notes as the Swedish Nightingale, Jenny Lind, whose beautiful
operatic trill serves as a Siren of seduction for the infatuated Barnum.
Ringmaster, Jano Simko cuts a dashing figure as the unicycling juggler,
although his Ringmaster lacks the presence and persuasion of a Ringmaster, a
role that is more appropriately assumed by the persuasive Barnum.
There are fine performances from
the ensemble, who have enthusiastically embraced the spirit of the circus, and
entertained an audience in the foyer and the theatre before the show and during
the interval. It is a part of the immersive magical charm of this production.
Musical director Madigan and his orchestra keep the cast in fine voice with
rousing renditions of Cy Coleman’s music, and Michael Stewart’s lyrics.
Whatever the failings of the actual musical, Philo has revived a show with
spirit and flair to keep any sucker born any minute entertained and uplifted by
the spirit of a dreamer who saw everyone as special. That is the special gift
of Philo’s production of Barnum.
