The Greatest Showman Stage Musical Premieres in Bristol
Roll up, roll up! The sleeper hit film The Greatest Showman has been transformed into a high-flying, hammer-juggling, banger-filled Disney stage musical, premiering with a sold-out eight-week run at Bristol's Hippodrome. This spectacular production, directed by Tony winner Casey Nicholaw, adds new songs by original composers Benj Pasek and Justin Paul, expanding the beloved soundtrack that powered the 2017 film to Oscar-nominated success.
Behind the Scenes of the Bristol Launch
Rather than debuting in London or on Broadway, the show is using Bristol as a tryout, with major structural alterations made to the Frank Matcham-designed theatre to accommodate its ambitious circus-theatre elements. The backstage warren teems with activity, from rails of waistcoats to power drills, as stars Oliver Tompsett and Samantha Barks prepare. Tompsett takes on the Hugh Jackman role of PT Barnum, while Barks plays his wife, Charity, bringing her experience from the West End's Frozen to the stage.
Anne Quart, executive producer at Disney Theatrical Group, reveals that discussions for the stage adaptation began shortly after Disney's acquisition of 20th Century Fox, with Pasek and Paul centrally involved in writing new songs to enhance the storytelling. The musical, with a book by Tim Federle, follows Barnum's journey from circus huckster to opera impresario, exploring themes of family and acceptance amidst the spectacle.
Addressing the Elephant in the Room: PT Barnum's Legacy
The production navigates the controversial legacy of the real PT Barnum, an exploitative figure who profited from exhibiting people with disabilities and animals. Quart emphasizes that the stage version is a fable based on Barnum's life, not a historically accurate portrayal, aiming to celebrate circus and theatre while holding the character accountable for his poor choices. The show omits certain historical figures like Joice Heth and adjusts details, such as the age of performer Charles Stratton, to focus on empowerment through anthems like This Is Me.
However, the musical does not cast a performer with dwarfism for the Stratton role, with Quart noting that the production is in its early stages and seeks to represent otherness in varied ways. Animals are excluded from the narrative, using CGI-inspired designs instead, reflecting modern sensibilities away from real circus exploitation.
Snobbery and Spectacle in Musical Theatre
Tompsett and Barks discuss the snobbery sometimes faced in musical theatre, with Tompsett noting that performers in this genre are not always considered 'real actors' in the UK. Barks highlights a shift in perception, citing the success of films like Wicked. The pair reflect on the challenges of blending story with song and dance, a testament to the athletic and joyful choreography by Nicholaw.
The production features advanced digital technology, with a 'sky pit' for the band and a half-circus ring stage design, creating an immersive experience. Tompsett describes the operation as akin to 'landing on the moon,' with audiences likely to be familiar with the songs from sing-along screenings. Quart expresses curiosity about whether theatregoers will join in, adding to the interactive energy.
As The Greatest Showman continues its run in Bristol until 10 May, its future remains unconfirmed, but the buzz suggests it may follow in the footsteps of Disney's other stage hits. The show balances spectacle with social commentary, inviting audiences to revel in the circus while pondering the complexities of its inspiration.
