Shawty loves a good musical, and The Greatest Showman was a sufficient placeholder until the next non-Disney animated feature makes it way to the masses. Directed by Michael Gracey, the Greatest Showman offers a compelling, fantastical story about the origins of circus culture in early 1900s New York City, while exploring complexities of social acceptance, racial equality, divisions in class, and the rags-to-maintaining riches struggle of the titular character.

Hugh Jackman (“The Front Runner,” “Logan”) leads the cast as P.T. Barnum, founder of the renowned Ringling Brothers and Barnum and Bailey circus, and was completely adept in this character, but this isn’t Jackman’s first rodeo as a musical actor. If you recall, he dazzled as Jean Valjean in the 2012 film adaptation of Les Miserables.

Michelle Williams (“Manchester by the Sea,” “Blue Valentine”), and former Disney superstars Zac Efron and Zendaya, rounded out the main cast, and really added sparkle✨ to the film. Though I thought Efron killed it as Phillip Carlyle, I wonder how he felt about dipping back into a musical after spending years trying to shake away the post-“High School Musical” residue, and ultimately wanting to be taken seriously as an actor.

Zendaya was my one of my main motivators to watch the film. I think if this screenplay was in the pipeline a decade ago, her storyline of overcoming adversity as a black performer during pre-Jim Crow era New York City would have been re-written to focus on one of the other supporting circus characters.  I appreciate intertwining relevant themes about humanity, essences of what connects us more than separates us, and making an effort to “put the medicine in the candy” without coming off as too preachy.

I cannot recall a moment during the film that felt disconnected or the flow disjointed.  It moves effortlessly, and sometimes musicals can have a noticeable cloud of whimsy, where breaking into song out of nowhere can feel misplaced. This film did well with its transitions.

A period piece about the circus, you’d hope they’d get costuming and set design right…and they did! Early on there was an obvious juxtaposition in costuming between humble characters (muted palettes, course fabrics) versus the more affluent one (bold, vibrant satins/silks and chiffons).

I think the one thing a musical has to do well lies in the name of the genre–the music.  A musical without a superb score and/or song is a waste.  “This is Me” was a great crescendo to the climax of the film.  The song, which won an Academy Award for Best Song in 2018, warranted such admiration because it showcased the supporting cast’s talent and range, and Keala Settle was a knockout.  It was reminiscent of my first time seeing the titular “Singin’ in the Rain” performance, “Roxanne el Tango” in Moulin Rouge, or “Cell Block Six” in Chicago. It heightened the film.