Top Hat: The Musical

Mo Cross reviews at the Birmingham Hippodrome

Walking into the Hippodrome last night was like walking onto a vintage movie set. The orchestra warming up with strains of classic 1930’s Hollywood music before breaking into an introductory medley set the mood and primed the audience for the show. When the curtain went up on the opening number, Puttin’ on the Ritz, you could tell it was going to be a great night. 

Based on the classic 1935 film which starred Fred Astaire and Ginger Rogers, the stage adaptation’s original West End production won the 2013 Olivier Award for Best New Musical and the Evening Standard Award for Best Night Out. This production by the Chichester Festival Theatre sees Irving Berlin’s music come to life, with direction and choreography by Tony award winner Kathleen Marshall.

I was lucky enough to speak with Emma Williams, who has joined the company as Madge Hardwick, in an interview for Switch Radio Breakfast, to get a behind the scenes look at what it takes to bring this dazzling show to the stage. You can listen again here in the last half hour of the show to hear an insider’s perspective on what makes Top Hat special. When I asked why audiences should go see it, she told me: “Great theatre is great escapism,” and last night was exactly that.

There’s nothing like a fantastic tap ensemble to whisk you into the world of the stage. Led by Phillip Attmore, playing the devilishly talented Jerry Travers, the opening number is bursting with energy and gives you a glimpse of why everyone is so besotted by him. His natural charisma fills the stage as he saunters away from his final show in New York City, but once in London he meets the only person immune to his charms, Dale Tremont, and falls head over heels for her.

What follows is a delightful comedy of mistaken identities, witty dialogue and incredible dancing that keeps the story flying forwards. Adaptation from screen to stage can be tricky, especially when there are multiple rooms, or in this case, multiple countries that we follow the characters through. An ingenious rotating set allows for quick scene changes, even while the action is split between two spaces. Clever lighting design keeps your attention on the action, and the multi-talented ensemble dance, sweep and shift furniture around as needed.

Amara Okereke gives a flawless performance as Dale Tremont, bringing depth to her character as she tries to resist her feelings for Jerry, who she thinks is Horace Hardwick, a man married to her friend Madge. Dale matches Jerry step for step, and their singing and dancing are as impressive as they are complimentary. The chemistry between the two feels understated and genuine as they’re surrounded by a troupe of comedic stage-fellows who almost feel like caricatures. 

James Clyde plays Bates, the hilarious, straight-laced butler to the Hardwicks, and even he couldn’t resist a quick giggle at the comedic timing of James Hume’s properly British Horace. The audience took it in stride and applauded the extra-long pause as he composed himself to continue. I love it when a cast are having as good a time as the audience.

Alex Gibson-Giorgio, as the ridiculous (in a good way) Italian fashion designer, Alberto Bedini, gets one of the most side-splitting songs in the show, and also delivers one of my favourite lines, “How dare you speak like that to the man I love? Me!”

If you get the chance, I would highly recommend heading down to the Hippodrome to capture a little of the glitz and glamour of Irving Berlin's Top Hat. You can get your tickets here.