Come early for the interactive pre-show experience; enjoy close-up performances, curious characters and savour delicious food and drink. Then take your seats in a 700-seat Big Top where circus meets musical theatre in an epic Spectacular featuring a brand-new story inspired by the 20th Century Fox Motion Picture and featuring all the hit songs by Pasek and Paul including ‘This Is Me’, ‘Rewrite the Stars’, ‘A Million Dreams’, ‘Tightrope’ and ‘The Greatest Show’.
‘COME ALIVE!’ will feature the finest international circus stars (Cirque de Demain Medal Winners, Cirque du Soleil) and musical theatre talent from the West End. At the helm of the production is Drama Desk award-winning Creative Director Simon Hammerstein. As co-founder of The Box and the mastermind behind Usher’s sold-out ‘My Way’ Las Vegas Residency and producer of Queen of the Night, Hammerstein brings his unique flair and live experience expertise to ‘COME ALIVE!’.
Arguably the circus is mostly there as something to look at to accompany the songs, although rather than just random setpieces, Hammerstein’s show attempts to extrapolate a plot from the tunes. Which is a bit peculiar when you consider they’re already part of the plot of The Greatest Showman, but Come Alive is attempting to extrapolate a different plot from them. Admittedly a lot of the appeal of the film’s soundtrack is down to the fact the songs aren’t very specific, lyrically speaking. Nonetheless, it’s often bizarre to hear them rearranged into a wafer-thin, bordering-on-incoherent story that has nothing to do with PT Barnum, but rather something about a young woman named Max who visits the circus with her boyfriend, takes on the mantle of The Greatest Showman from the previous holder, and then possibly feels a bit guilty about the whole thing.
The circus itself is, in the main, entertaining without being in any way memorable or groundbreaking. Circus choreographers Tilde Björfors and Mattias Andersson play it far too safe given the quality of the cast and the facilities (one of the updates to the venue was adding a huge mother truss to support the rigging). Some parts feel more plastic than organic and there’s rarely a genuine wow factor. There is very little on display that really stands out from what can be seen in big tops up and down the land. When the story calls for explosive action, Björfors and Andersson cram too much in with dazzling aerialists pitching and yawing above busy ground-based colleagues. creating a confusing and overloaded panorama. On press night, the trapeze act and the teeterboard piece both ended in very noticeable mistakes; in the latter case, the team decided to repeat the last segment while the next set of acrobats awkwardly waited in the background; whether this is a sign of general nerves or backstage shenanigans is hard to tell.
2024 | West End | West End |
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