Based upon the life and ambitions of a real-life American showman, Phineas Taylor Barnum, Barnum has been entertaining audiences since the early 1980’s, when the role of Barnum was played by Michael Crawford, of the Some Mothers do have ‘em fame. Whilst much of the score will be familiar to those who used to watched Torvill and Dean who chose some of the score for one of their iconic skating programmes.

The star of the show, Lee Mead, was unwell, so the leading part of PT Barnum was played by Tom Sterling, who made a sterling job of his task. He played the role with confidence, even including the famous tightrope walk at the close of Act One, and whilst he had four attempts to cross the stage, the audience were with him every tenuous step of the way.

The ringmaster was also played by the role’s understudy, Laura Sillett, who again was confident in the part. As for the remainder of the cast, I was in total awe of their skills and abilities. During the performance, and between them, they danced and played over one hundred and fifty musical instruments with great aplomb, whilst the strength and skill of the acrobats were second to none, especially when using the trapeze and the aerial silks high above the stage. All of the characters from a traditional circus cast were evident, including the oldest woman in the world, Tom Thumb, a fire eater and even a huge elephant puppet.

The script doesn’t really add anything to the evening, as it doesn’t adequately tell of Barnum’s character, his great ambitions, his rise to fame and subsequent failure, nor does it successfully explore his personal relationships with his loyal and supportive wife or his dalliance with the Swedish Nightingale, Jenny Lind (Penny Ashmore), or of his business ethics, meaning that all feels rather shallow.

The set design by Lee Newby is fabulous, with a huge proscenium arch and balcony reminiscent of a circus big top and fully utilised by the cast throughout the performance. Oti Mabuse of Strictly Come Dancing fame has been in charge of the choreography, which is both original and lively – I suspect no mean feat when all of the movement has to allow for instruments to be carried and played simultaneously.

A visually impressive production involving a large and musically gifted all-singing and -dancing cast, but somehow, for me, it just didn’t hit the ‘spot’.

Sheffield Lyceum Until 2nd May