Tag: review

REVIEW: Learning to Dive

Published on by mollypavordLeave a comment

Rating: 3 out of 5.

A gentle story of love and loss, heartfelt but uneven at times

At its heart, this is a sweet and touching play about love, grief, and the long-lasting consequences of secrecy. The concept is simple but effective: it asks the audience to see all the characters with compassion, showing that love is complicated, especially when it exists alongside fear, social expectation, and time. The play doesn’t try to label anyone as right or wrong – it just shows that we’re all human, flawed, and often just trying to survive one day at a time. That said, while grief drives the story, it doesn’t always feel fully anchored, and there are moments where the emotional stakes could have hit harder.

The writing is clear and easy to follow, gradually revealing different perspectives. Themes of growing older, changing attitudes towards homosexuality, jealousy, and the weight of hidden love run through it. There’s also a quiet sadness underneath – a reminder of how fast time passes, and how damaging it can be to live in the shadows for too long. Small details, like the lovers’ secret acronym “CYK” (“Consider Yourself Kissed”), are really sweet, but also heartbreaking, showing how they had to hide their love in a time when being gay was socially unacceptable. Knowing that the story comes from Brendan Murray’s own experience of decades-long hidden relationships and loss makes it feel even more lived-in and human.

Direction is naturalistic and mostly works, though some blocking feels like movement for the sake of movement rather than real intention. The pacing drifts in places, with pauses that sometimes lose their purpose, and moments where actors speak over each other rather than truly reacting. A slightly tighter rhythm would have helped the emotional beats land more clearly.

The performances are warm and committed, though a little uneven at times. Brendan Murray, who also wrote the play, is the standout, bringing a deep connection to the material that feels genuinely lived-in. His understanding of love, secrecy, and grief gives his performance authenticity and subtle emotional weight. Karen Spicer brings charm and lightness, though at times a little too chirpy, and Darren Cheek has energy and presence, though I wanted to see more of a thought process and a touch more vulnerability beneath the surface to make the emotional beats land harder.

The set is strong, showing a clear contrast between two worlds and reflecting how differently people process grief. Costumes are naturalistic, lighting supports the mood, and sound mostly works, though some transitions feel abrupt. One particularly nice touch is the song that holds meaning for more than one character – it becomes a metaphor for shared love. You could imagine a moment where the wife and lover meet, not in confrontation, but through shared grief and the song, showing connection and empathy.

Overall, this is a heartfelt play about love, loss, and secrecy. It has a few things to tighten up, but its honesty and warmth shine through, and knowing the story comes from real experience makes it resonate. It leaves the audience thinking about honesty, time, and what it really means to connect with someone.

You can watch Learning to Dive at The White Bear Theatre until the 22nd of February.

IN CONVERSATION WITH: Vladyslav Kuznetsov

Published on by ayoungishperspective1Leave a comment

The Sound of Absence at Omnibus Theatre 24 – 28th February follows one woman’s journey of self-discovery after the death of her father. Actor Yanina Hope is joined on stage by Vladyslav Kuznetsov whose piano music acts almost as another character. He tells us about the show www.omnibus-clapham.org/sound-of-absence/

  1. How did you begin translating Yanina’s journey into music without letting the score overwhelm the silence it comes from?

At first it wasn’t easy. Trying to tightly follow the script and match the text turned out to be an unworkable approach. The music became completely dependent, turning into a shadow of the text and that was exactly what didn’t suit us, because the idea of the performance lies elsewhere.

So we decided not to work under the text, but under the emotion, trying to express a specific emotional state or a particular stage of emotional development. In this way, everything began to sound in the right colours. At times it even felt as though the music didn’t correspond to the text, but it was precisely within this gentle disagreement that new and more interesting shades emerged which ultimately became a kind of discovery for this piece.

  1. Was there a moment when the piano started expressing what the text could no longer hold?

Yes, such moments definitely exist. From the very beginning, however, the concept of the music as an independent character in the play implied that it wouldn’t merely accompany the text but would express certain aspects and emotions on its own, not just complementing the text, but also adding new layers and reflections.

  1. Did any of your own relationship and experiences with your father shape the emotional language of the music? 

No, I didn’t think about that at all. I didn’t associate the issues raised in the text specifically with my own father. Still, the theme of experiencing the loss of a person resonated with other people in my life, and that, of course, influenced the emotional tone of the music.

  1. In a piece so rooted in absence, how did you decide when music should enter—and when it should stay away?

In most cases, such compositional decisions come quite naturally, but the main point of reference is always the emotional state of the main character and the specific stage of her psychological journey. In some moments, the music needs to take on the leading role and describe the current state without words; in others, it’s important to give space to the text in order to emphasize its significance. Achieving a delicate interaction required searching for balance and experimenting with different solutions.

  1. Did composing this work change the way you think of your relationship with your own parents? 

I can say for sure that, at the very least, working on this piece reminded me that no matter what parents are like, no matter what problems they may have, it’s important not to forget — and not to be afraid — to tell them that you love them, to do it now, and to cherish this opportunity while it still exists.

  1. What do you hope audiences carry with them from the music after the story ends?

Above all, I want the listener to travel this emotional path from the first note to the final chord –  to realize something and to live through an entire story over the course of this hour-long performance. And I also hope that when leaving the theater, the listener feels something special, as if the music managed to reach their heart and touch it.

FEATURE: Joshua Beaumont and Matthew Emeny for The Production Gardenin association with Exeter Northcott Theatre present “Private Peaceful”

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Joshua Beaumont and Matthew Emeny for The Production Garden
in association with Exeter Northcott Theatre present
Private Peaceful
Based on the novel by Michael Morpurgo
Adapted and Directed by Simon Reade

After captivating audiences worldwide, Private Peaceful returns to the stage for an Autumn 2026 tour with fresh energy and timeless power. 

From Michael Morpurgo – beloved author of War Horse – comes the unforgettable story of Tommo Peaceful, a young First World War soldier. On the eve of battle, Tommo looks back over the events that shaped his life: the warmth of family, the innocence of first love, and the deep bond with his brother that carries him through the horrors of war.

In this acclaimed one-person tour de force, adapted and directed by Simon Reade, a single actor conjures an entire world of characters, landscapes, and emotions. At once heartwarming and heartbreaking, Private Peaceful is both a moving family drama and a powerful reminder of the human cost of war.

Lauded across the globe as an international smash hit, this production now embarks on a bold new chapter.

Author Michael Morpurgo said: “I am continually moved by the way Private Peaceful finds new life on stage. This production captures the tenderness, humour and sorrow of Tommo’s story with great care and humanity. It is a piece of theatre that speaks gently, but stays with you for a very long time.”

The Private Peaceful tour will visit: Exeter Northcott Theatre (8-10 Sept); Lichfield Garrick Theatre (11-13 Sept); Victoria Wood Theatre Windemere (16 Sept); Lyceum, Edinburgh (17-19 Sept); London, venue to be announced (21-23 Sept); Harrogate Theatre (24-26 Sept); Theatre Royal Winchester (28-30 Sept); Hull Truck Theatre (1-3 Oct); Hall for Cornwall (6-7 Oct); Belgrade Theatre, Coventry (13-17 Oct); Malvern Theatres (21-25 Oct); Theatre Royal Wakefield (27-28 Oct); Worthing Connaught Theatre & Studio (11 Nov) and Curve, Leicester (17-19 Nov). 

Produced by Joshua Beaumont and Matthew Emeny for The Production Garden in association with Exeter Northcott Theatre.

Suitable for ages 8+.

REVIEW: Here There Are Blueberries

Published on by ayoungishperspective1Leave a comment

Rating: 4 out of 5.

An academic-style presentation of the little known story behind some of the world’s most infamous photographs

The American developmental theatre company known for their groundbreaking verbatim plays, Tectonic Theatre Project’s Here There Are Blueberries has landed in London. Creators of the Laramie Project, one of the most frequently produced plays in America, Tectonic Theatre Project are masters of the art of non-fiction theatre. 

In this Pulitzer-nominated play by co-creators Moisés Kaufman and Amanda Gronich, we are told the story of a photo album of Auschwitz, which gained international notoriety as all of the photos took place outside the camp walls. Capturing camp staff smiling, laughing and holidaying, this album showcased the ‘other side’ of the atrocities, how German staff were able to live happily, singing folk songs and eating blueberries on the camp complex. 

Shown in the Victorian-era theatre Stratford East, sightlines for this production are grim. Even in the middle of the stalls it’s impossible to see the whole stage, with audience members dancing from left to right of the person seated directly in front of them to keep eyes on the action. 

Presented in a lecture-style format, the entire play takes place in a room of the United States Holocaust Memorial Museum. Despite some transformation of space into a courtroom, interrogation room and bar, it remains an emotionless and sterile set design by Ben Davies. The focus of the production is the photographs, which are presented in a huge variety of interesting ways, utilising every part of the stage space to highlight key features. 

The ensemble is led by a detached Philippine Velge, who predominantly plays the youngest archivist of the museum. With extensive direct address and little dialogue between the actors, the company feels more like a group of professors addressing students than the cast of a play. Despite constantly stepping into new character’s shoes, there is no character transformation by any performer. Accents and demeanours remain the same and the production comes across more like a presentation of academic findings than a theatrical performance. 

What saves these emotionless portrayals is the material itself. The photographs and the story they tell are absolutely fascinating, with the script drip-feeding just the right amount of information bit by bit, to keep the audience engaged. Constant reveals of who owned the album, who’s in it and what happened to them are slowly revealed, and the 90-minutes fly by. 

This captivating way of storytelling is still so unique, with flawless use of tech as a support to an already deeply intriguing narrative. Here There Are Blueberries plays at Stratford East in London until March 7, 2026.  

REVIEW: The Wood Paths

Published on by Alli CaineLeave a comment

Rating: 4 out of 5.

Strangely compelling and whimsical, carving out far deeper concepts from the wood working process

The highly anticipated Manipulate festival, which ran from the 4th to the 10th of February, is known for its awesome array of boundary-pushing works. The evenings of the 9th and 10th saw the performance of ‘Wood Paths’ by director Andrejs Jarovojs at the Traverse Theatre.
Wood Paths is definitely not a traditional theatre experience. This becomes more
understandable with a little research into Jarovojs’s directorial past, where his works are
noted for their conceptual experimentation and innovative contemporary forms and
expression. In this sense, Wood Paths delivers. It strays far more into the territory of
performance art, and with this in mind, this intriguing performance may be far better
understood and enjoyed. If you are delighted with having a more unusual theatre
experience, then this may be one for you.
The stage is minimalistic, open. Real, big, wooden tree trunks appear. Pallets, tools and
axes waiting to be used. The stage is a woodshop or an imagined forested landscape,
potentially, more aptly, a place of possibilities. Everything suggests that things are to be
done or made, or perhaps this is just our human instinct, and perhaps that is exactly the
point. The show is non-verbal, and also had no sound effects or music, which actually
worked incredibly well, as all sounds were made by the actors and tools. The performers
were Rūdolfs Gediņš, Edgars Samītis, and they worked together chopping, fashioning and creating with the available material. Their performance was impressive mainly because of their physicality, since they were strenuously working or moving for most of the hour and twenty minutes. They worked well together, very in-tuned with the others practice, making rhythm and symmetry a central focus of the experience. A humorous and suspenseful addition to the side of the stage was a large printer that acted as the only form of delayed dialogue between the men. This, too, is minimal and poetic in nature.

Jarovojs seemed to dig into the notion of endurance, both obviously and subtly, and at
the expense of both performers and the audience. This performance is concerned with
process and less so with result, unless the result is just a word for a temporary pause. There is genius in the creation of a piece that can pull on so many threads without being explicitour associations with masculinity, evolution of human creativity and technology, environmentalism, skill vs time. The way the arc of the show was kept fluid and unexpected, starting with a well know concept and ending somewhere far more whimsical yet socially relevant, was delightful and quite touching. It is definitely a piece to be experienced rather than explained. I think its strength lies in how it leaves you questioning and weather that is good or bad can be up to you. Give it a watch!

REVIEW: Romeo and Juliet

Published on by ethanmclucasLeave a comment

Rating: 4 out of 5.

A staging of one of Shakespeare’s most famous texts that boldly states “no buts,” and “no gimmicks” – and does so, magnificently.

Romeo and Juliet is a play that has received countless stagings. The tragedy of two forbidden star crossed lovers is a tried and true classic. Many companies which stage their own adaptation of the text feel the need to explicitly add new material or elements that were not in the original version of the text such as a more conventional setting or through the use of gimmicks.

Director Salvador Kent is doing the opposite. Their only major additions to the material are moments of stillness which allow the audience to truly feel the different impactful moments of the  play. These moments let what could be predictable emotional beats of a  well worn text, hit the audience with a flood of feeling that can shatter the hard outer shells of even the people who have seen this play a hundred times. An extended moment of nothing but close eye contact between Romeo and Juliet on their first meeting says more about them and their connection than even Shakspeare’s own words can do.

But Kent and the actors all around do his words justice too. The soliloquies and monologues are especially a highlight. Each one has been paid the utmost attention and each is as captivating as the last without ever feeling similar or overly indulgent. A supreme feat. Particular praise to an extended moment from Lady Capulet, played by Raphaella Hawkins, who early in the play, reflects on the life of her daughter Juliet, compared to her own with masterful melancholy. A moment that is often passed over, but not here.

Mercutio, played by Noah Sarvesvaran, is another highlight, commanding the stage and effortlessly entertaining. However, intriguingly, this production frames his character as overly lustful, hedonistic and ultimately a bully. This, combined with a far more restrained Tybalt, one which seems to actively be fighting against the short tempered nature traditionally associated with the character, inverts the classic dynamic, framing Mercutio as far more of a villain. This new dynamic is fascinating and provocative, raising questions of the company our hero, Romeo, keeps and the morality of such a world. All of this is done with expert nuance and crucially without having to add anything to the text and instead, exploring what is already there.

Ben Kay’s set is simply brilliant. It of course includes the balcony set at the back of the stage but its best aspect is its simplest and yet most ingenious: the low lying rostra in the centre of the stage. Coloured grey and with the texture of concrete, it is a platform, a paved courtyard, but most importantly: it is a flat tombstone. Even before the play starts, two beams of light shine upon it, Romeo and Juliet, already sealed away. There is not anyone who does not know how this story ends, so by having this tombstone present throughout, having it double as the place enemies fight and lovers lay, all the while, the audience knows what is coming and this only emphasises the tragedy of the piece even more.

This production’s costume design is one element that does not hold up as strongly as the others. Many of the characters are in simple white shirts and black jackets with very little variation between them causing them and which side of the conflict they are on to be indistinguishable. A moment later on in the production with a coffin feels overly laborious and on the nose and a rare moment of the dramatic effect not landing. Finally, the real set piece moments, the fights, soliloquies, the dancing, are fantastic, but the moments in between them can at times feel slightly neglected. The masquerade ball near the beginning of this production is a noticeable highlight that is as mesmerising as it is strange, especially with the incredible masks provided by Moira Hamilton, and there is slight disappointment that the production never returns a moment of that nature for the rest of its run.

These are minor blemishes on an otherwise fantastic production. One that runs at over three hours but flies by, never feeling slow and sluggish. It is truly a taught production that justifies every second of itself. Romeo and Juliet by the Edinburgh University Shakespeare Company is a Shakespeare production unabashedly afraid of being a Shakespeare production. It has a remarkable confidence in itself and proves that this text, no matter how many times it has been staged, can be something remarkable in the right team’s hands.

REVIEW: Hellarious

Published on by jaybinghamLeave a comment

Rating: 5 out of 5.

The scintillating sins of a ‘haram Muslim’, revealed by a riotous Indian comedian

Growing up in a South Asian, Muslim household has its ups and downs. There is immense pressure, especially on the girls, to be the perfect, devout daughter of both the family and God. In the Soho Theatre at 7:15pm, New Delhi-born comedian Saaniya Abbas stepped onto the stage and removed that weight from her shoulders, delivering a stand-up routine that liberated her audience too.

Abbas, despite her little-girl face and kitten-ears headband, is 36. As such has traversed a variety of life experiences – divorce, rocky career beginnings, travelling to different parts of the world, and confusion over religious teachings. One such strange teaching is that when men go to heaven, they are rewarded with 72 virgins. Abbas adds to this absurdity with another ridiculous idea; what will the women receive? How on earth would they cope with 72 nerdy, inexperienced men? Her astute social commentary resonates with all audience members without ever veering off into Islamophobia. Her routine teaches us that it is possible to be respectful and have a raucous laugh at the same time!

Abbas also connects well with the front-row audience members, frequently calling upon them to set up certain jokes, e.g. about South Asian households, immigration, etc.. She is sweet and conversational, evident in how easily these audience members leaned into her aura and opened up about themselves. This enhanced the quality of her already brilliant performance; it is clear that her personal energy, as well as her professional expertise, is strengthened by her interactions with people. 

Hellarious covers many aspects of both religion, being South Asian, and adulthood, providing answers to questions (and insightful questions to vague answers!) that we all have held onto our whole lives. Though Abbas claims her routine is about failure, she is the epitome of success – there is power in her ability to articulate the experiences of this many people. She is funny, kind, and intelligent, and Hellarious is a must-watch show!

REVIEW: Single White Female

Published on by Lucy CLeave a comment

Rating: 5 out of 5.

A tense and modern reimagining of a cult thriller that explores how trauma, identity and technology blur the line between love and obsession.

Based on the bestselling novel by John Lutz and the Columbia Pictures film that made the phrase part of everyday language, Single White Female has been brought to the stage in a new adaptation by Rebecca Reid, directed by Gordon Greenberg. This version does not try to recreate the nineties. It plants the story firmly in today’s world, with phones, social media and even AI changing how the story is delivered.

The tension builds early with clever music to signpost each eerie slip of Hedy’s true self. You can feel something tightening between Allie and Hedy long before anything obvious happens, and that is what keeps it gripping.

Lisa Faulkner plays Allie as capable and self aware. She is rebuilding her life after a breakup and advertises for a flatmate, and is strong but vulnerable much like her film. You can also sense the impact of past hurt in the way she reacts and second guesses herself.

Kym Marsh’s Hedy is loud, manipulative and always watching. She does not arrive as a clear threat. At first shes the perfect lodger of a little nosey. Then small things start to shift. The copying of mannerisms. The way she studies Allie. The slight changes in tone. Marsh keeps it subtle, which makes it more unsettling. You are never fully sure how far things will go.

Bringing the story into the modern age adds a sharper edge. Phones are used naturally and become part of the tension rather than just background noise. The AI references feel timely. They underline the idea that identity today can be replicated, edited or observed in ways that feel invasive. Adding to the themes of stalking that the original novel set out to display.

Jonny McGarrity brings charm to Sam and avoids turning him into a stereotype. Andro as Graham offers warmth that cuts through the claustrophobic feel of the central relationship. Amy Snudden’s Bella feels especially relevant in how she navigates influence and validation. The supporting cast strengthen the world of the play without distracting from the main dynamic.

Gordon Greenberg keeps the pacing steady. Scene changes are smooth and the music during transitions, designed by Max Pappenheim, genuinely stands out. It builds anticipation rather than giving you a break, so the tension keeps simmering. Morgan Large’s set design presents a clean, modern apartment that slowly feels less safe as events unfold. Jason Taylor’s lighting narrows the focus at key moments without drawing attention to itself.

What makes this adaptation land is how it explores trauma and stalking. People are not always what they seem, and sometimes we ignore warning signs because we want connection more than we want distance. The play leans into that ambiguity. It leaves you questioning who is in control and whether that control was ever secure to begin with.

This show runs until 14 February 2026 at the Opera House, Manchester before continuing a UK and Ireland tour including Woking, Richmond, Milton Keynes, Birmingham, Stoke on Trent and Glasgow.

REVIEW: A Christmas Carol Goes Wrong

Published on by Robyn YarwoodLeave a comment

Rating: 4 out of 5.

A Very Cornley Christmas

Welcome to Cornley Playhouse, home to the Cornley Drama Society, whose productions can never seem to go quite right. Mischief productions have returned to Edinburgh once again, this time with their show ‘A Christmas Carol Goes Wrong’ (fittingly belated to the season). You may recognise the title coined by Mischief from their hit show ‘The Play That Goes Wrong’ and since it’s take off in 2014, they have reimagined their format time and time again. In this production we find the society taking on the Charles Dickens classic and suffice to say there are significantly more antics than Dickens could have ever crafted himself.
At the helm of Mischief’s production is Artistic Director Henry Lewis and Creative Director Jonathan Sayer, who not only wrote the show alongside Henry Shields, but both give stand out performances as their respective characters. Lewis portrays the burly, egotistical Robert Grove, whose fascination with Nudist stories brings an absurdist nature to the show that contrasts nicely to more innocent humours of some characters. Such as Sayer, who to Shields contrast, plays the sweet souled Dennis. Dennis’s characterisation and portrayal of Bob Cratchit, makes you feel the warmth you’d expect a mother to have watching her five-year-old play a sheep in their primary nativity, giving a bleat before knocking over the manger. Each bat off straight-man Chris Bean, our 30-year-old Ebenezer Scrooge played by Daniel Fraser, with such unbridled chaos that seeing his outbursts towards them never once gets old.
The entire ensemble shine through two hours of belly laughing slapstick; the audience was in consistent stitches throughout the duration and not one person left without a smile on their face. Whether that be due to the Ghost of Marley’s chain’s encompassing every set piece they can wrap themselves around, or a liquor cupboard represented by a giant Malteser box, there was something for us all. My stomach even dropped a couple times fearing something may have gone wrong (for real this time). However, the array of punch lines presented could unfortunately go either way, with some feeling perfectly paced for the shock factor, but others feeling too predictable from the set up that their effect isn’t so much felt.
Mischief’s productions hold up to their name in every way possible and A Christmas Carol Goes Wrong is no different. I hope they keep finding ways for things to go wrong for many years to come.
This show runs until Sunday 15th February at Edinburgh Festival Theatre before continuing on tour to Glasgow and Canterbury!

REVIEW: Barnum

Published on by abigailpendleburyLeave a comment

Rating: 4 out of 5.

A bold burst of Barnum brilliance

Manchester Palace Theatre played host to the spectacle that is Barnum: The Circus Musical, a musical based on the life of PT Barnum. This was a high-energy, vibrant production that truly delivered on spectacle and showmanship. It was full of life, wonder and charisma. From the moment the auditorium doors are opened, audiences are transported back in time to the traditional big top circus and large fairground times, with that age-old circus music to get you in the mood for what is to be a night of music, magic and drama. The production is bursting with colour, movement and lots of personality, with the entire cast bringing a level of energy that never wavered

Lee Mead as PT Barnum has the perfect stage presence, charming audiences and drawing them in. His personality shines, and his voice is pure brilliance. He brings Barnum to life as if it were his alter ego. He graciously balances the character’s flashy bravado with moments of vulnerability and sincerity that offer glimpses of the man behind the spectacle we know and love. Mead carries the role with a steady energy that keeps the audience invested in the journey of PT Barnum.

Monique Young gives a beautifully measured and heartfelt performance as Charity Barnum. She brings a calm strength to the character, offering a thoughtful contrast to Barnum’s restless ambition. Her vocals are clear and expressive, and she delivers her scenes with a sincerity that makes Charity feel grounded and relatable. Young’s chemistry with Mead is gentle and believable, and she adds a beautiful emotional depth to the production without ever overstating it. Her presence provides a steady emotional anchor throughout the show, and she shines in moments where Charity’s quiet resilience comes to the forefront. What makes her performance even more impressive is her versatility; Young plays several musical instruments throughout the show, weaving them seamlessly into the action without breaking her character. Truly extraordinary.

As for the ensemble and the other characters, the cast were so committed to everything they did, whether it was singing or playing an instrument; they brought so much enthusiasm to each scene, it was infectious. There were always multiple layers to the storyline, with many things happening on the stage, but they never broke, and everything was done with precision. One of the most striking aspects of this production is the performers’ versatility. Not only do they sing and act with incredible confidence, but many of them also play instruments live on stage. This added richness to the musical numbers, making the show feel dynamic and immersive. It’s rare to see a cast so comfortable switching between disciplines, and it gave the performance a distinctive, almost ensemble‑band quality that worked beautifully. Its not something you see often in musical theatre, but it certainly was one of the highlights of the show

The circus elements were another highlight. The acrobatics, balancing acts, and physical theatre sequences were genuinely impressive and added a sense of spectacle that elevated the entire production. There were several moments where the audience collectively held their breath, and others where the skill on display drew spontaneous applause. These sequences brought a playful unpredictability to the show, and the cast handled them with remarkable confidence and precision. It was exhilarating!

Visually, the production is lively and engaging. The staging makes clever use of the space, and the expertly crafted choreography by Oti Mabuse ensures that there is always something interesting happening on stage. The movement is constant, purposeful, and creative, creating a sense of momentum that suits the world of Barnum well. The combination of live music, circus performance, and ensemble work gives the show a distinctive identity that sets it apart from more traditional musical theatre productions.

If there was one area that felt slightly less clear, it was the storyline. There were moments when the narrative became a little confusing, and certain transitions happened so quickly that it was easy to lose track of the finer details. While this didn’t detract significantly from the overall experience, it did mean that some plot points required a bit of reflection and deep thought afterwards to fully piece together what happened and why. However, the strength of the performances ensured that the even though it may have seemed confusing at times, audiences would still have a very enjoyable time.

Overall, Barnum is a vibrant production that showcases the exceptional talent of its entire cast. Their energy, versatility and commitment to every fine detail elevate this show into something so memorable. The combination of classic circus-style music, impressive acrobatics, and dynamic performances makes it a thoroughly enjoyable night. It’s a production that leaves a lasting impression and highlights the sheer talent and creativity that went into creating this wonderful celebration of PT Barnum and the joys he brought to many who came to his circus.

This production of Barnum continues at the Palace Theatre, Manchester, until 14th February, before carrying on its UK-wide tour.