DATE	18th April 2024
SOCIETY	Fatfield Musical Stage Society
VENUE	Park View theatre, Chester-le-Street
TYPE OF PRODUCTION	Musical
DIRECTOR	Helen Abraham
MUSICAL DIRECTOR	Thomas Hindmarch
CHOREOGRAPHER	Nicola Hindmarch

Author: Gordon Richardson

I admit I’d been looking forward to seeing Barnum for the first time for ages and knew about the pre-show display of circus skills in the foyer of the theatre. Sadly, I missed it (and almost the production itself) by being caught in a very long queue of traffic due to an accident. It would have been an utter tragedy if I’d missed the show as what occurred over the next two hours or so was utterly outstanding.

‘Barnum’ based on the life of Phineas Taylor Barnum, a 19th century showman, businessman and latterly Politian, and his wife Charity (Chairy). The production must be bold, brassy, full in your face explosion of energy and this show had it in abundance.

Reece Sohdi as the titular character powered through some impressive numbers with energy that was palpable starting with the humorous (but probably accurate) “There is a Sucker Born Ev’ry Minute” as he sets the scene for his philosophy in life – to give the people whatever they want even if the truth of it is ‘questionable’. No more so than employing a soporific ‘Joice Heth’ (Claire Taylor) as the ‘oldest women in the world’ and reinvents her as the nursemaid of the baby George Washington. Claire looked every minute of her 160 years but when ‘encouraged’ by the thought of unemployment managed to be quick of movement with impressive ‘twerking’ skills as she sang her song, “Thank God I’m Old”.

Continuity throughout the production was provided by ‘Ringmaster’ Adam Potter with his frequent addresses to the audience accompanied by an extremely loud (and increasingly annoying) whistle. Sharing the continuity were four silent (but extremely animated) clowns, Kelly Green, Buttercup Yellow, Cherry Red and Sapphire Blue (Aimee Irwin, Norma Ord, Joanne Hudson-Johns and James Monaghan respectively) – these four were almost never off the stage and caused chaos and the occasional clean up duties throughout saving the need for stage crew to strike hundreds of bricks and similar.

‘Chairy Barnum’ (Laura Dollimore) was the perfect partner to her industrious husband keeping him grounded whilst allowing him to fulfil his dreams. Reece and Laura showed great spirit and chemistry between themselves in the beautifully rendered “The Colours of My Life”. Barnum starts to build his American Museum with all sorts of attractions such as elephants, whales as well as General Tom Thumb (Michael Brabbs) who was powerful (but small) in his “Bigger isn’t Better” song. Laura, once again, as her character encouraged PT to build the museum “One Brick at a Time” with a spectacular full chorus number with several circus skills on display, hundreds of bricks and general chaos by the clowns. A memorable scene and one worthy of a memorable production.

Barnum is encouraged to get a regular ‘act’ rather than his assortment of ‘flim flam’ novelty pieces and travels to England to hire the operatic Swedish singer ‘Jenny Lind’ (Helen Downey) to join Barnum’s entourage on a tour of America. Although there is always the thought of an affair between PT and Lind it was encouraging to see this played as an infatuation as PT was true to his wife Chairy throughout. Helen (as Lind) played the Swede with suitable Scandinavian accent and sexiness throughout especially during her song (sung beautifully) “Love Makes Such Fools of Us All”.

If I’d been impressed with the first act the second started on a real humdinger of an opening number with the full Ensemble (including some of the band members) performing “Come Follow the Band” to spectacular effect.

In contrast to the colourful façade of the first act the whole cast performed in “Black and White” led by ‘Blues Singer’ (Stephanie Bates) to powerful effect.
Thankfully we returned to bright colours as Barnum’s life is getting older and his beloved Chairy eventually passes away shortly after the lovely reprise of “The Colours of my Life”. Mourning, discouraged, despondent, and political career scuppered Barnum’s encounters ‘Bailey’ (Michael Brabbs) who re-motivates him to joining his circus as they form the world famous ‘Barnum and Bailey’ Circus before the spectacular (there’s that word again) finale including ladies on Aerial Silks (Elizabeth Cracknell) and Aerial Hoops (Lucy Hill, Caitlinjo Husband and Hannah Stothard).

Throughout the rehearsal period all the cast had learned circus skills including unicycle (Elizabeth Cracknell – who also walked on stilts alongside Caitlinjo Husband), Juggling, Plate Spinning, Ribbons, Scarf Juggling, Flower Sticks, Roller Skating and Hula Hooping.
All the eight-piece band were in full costume at the back of the stage – a nice touch.

Cameo roles were played by Em and Toni Harrison, Emma, Matthew, Ronnie and Pam Monaghan, Rachael Freeburn, Cheiron Bates and Evan Scott to good effect.

A special mention must go to technical in the box by Martyn of Hi-Lights for lighting and sound, stage crew under the stage managership of John Hamblett, as well as the production team of Thomas and Nicola Hindmarch (MD and Choreography) and Helen Abraham (Director).

A LOT of effort had been expounded in bringing this production to the stage, but it was certainly warranted and appreciated by the audience (even if my ears are still ringing with that shrill whistle LOL).

Well done to Fatfield Musical Stage Society for pulling off a difficult show with style to celebrate their 75th birthday.