Top Hat at Chichester Festival Theatre Review
Lucy St. Louis and Phillip Attmore in Top Hat. Photo by Johan Persson.
Written by Rosie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Spreading old Hollywood glitz and glamour, Top Hat bursts onto the Festival Stage as Chichester’s big musical this summer season. Based on the 1935 film of the same name, which starred Hollywood musical legends Fred Astaire and Ginger Rogers, Chichester Festival Theatre bring all the romance and fun of the original story to life in a magical adaptation. Including the well-known classics ‘Puttin’ on the Ritz’, ‘Cheek to Cheek’ and ‘Let’s Face the Music and Dance’, this show welcomes grand, flashy dances and elegant two-steps back to the stage with style.
Much like any old Hollywood romantic comedy, Top Hat follows a comedy of errors and misunderstandings which resolve themselves through gorgeous ballads and even lovelier dance numbers. It follows Jerry Travers (originally played by Astaire, now by Phillip Attmore), a big Broadway star who has travelled to London to open a new show produced by his friend Horace Hardwick (played by Clive Carter). After a turbulent first meeting, Jerry tries to win the affections of model Dale Tremont (originally played by Rogers, now by Lucy St. Louis), as he instantly falls in love with her. Through an accidental mix-up, Dale mistakes Jerry for another and the romance takes an unexpected, messy twist. Facing romantic duets, flowers, international travel, Italian suitors and a lot of miscommunications, Top Hat brings so many of the film’s classic moments to the stage in fun, recognisable ways.
At the helm, Phillip Attmore delivers a remarkably good performance as Jerry Travers. Pairing his wit, charm and fantastic voice with his jaw-dropping dance skills, he fills the shoes of the character perfectly. Director Kathleen Marshall rightfully makes it so that Attmore is showing us how incredible his dance skills is in most scenes; from large, choreographed showstoppers, even to the smaller, quieter moments where choreography is worked into moments of dialogue. It is undeniable that he melts into the role of the big 1930s Broadway star with ease. Opposite him is the fantastic Lucy St. Louis as Dale Tremont, with a vintage transatlantic accent and gorgeous vocals to boot. She stuns in the heavily anticipated ‘Cheek to Cheek’ feather dress (designed by Yvonne Miles and Peter McKintosh), and pairs perfectly with Attmore in the dance numbers, giving a dreamy elegance to the iconic pieces. The supporting cast is equally as great, bringing more comedy to the show in filler scenes. Sally Ann Triplett is particularly good as Madge Hardwick, feuding wife of Horace Hardwick, who unwittingly also gets mixed up in the misunderstanding around her husband and Jerry. Her comedic timing blends well with Carter’s punny one-liners, and the two play off each other in their battle of affection with ease and laughter. Alex Gibson-Giorgio is a surprising treat as Italian fashion designer and Dale’s rival admirer, Alberto Beddini, delivering a memorable, energetic performance, especially during his solo in the second act.
I feel that where the production falls a little flat is the pacing of the show. Scenes which work in a film, where shots can be cut and transported between two places with ease of editing, feel choppy and laborious on stage. Watching characters make multiple entrances and exits in such short succession made the final revelation of the story feel long overdue and droning. There is a hard balance to strike between capturing a film on stage in a way that fans of the original piece will appreciate, and knowing the necessary changes that should be made from screen to stage; I feel that with slightly more tightening up of the final third in script and direction would allow for what would feel like a far more slick, satisfying ending to a lovely adaptation.
My only other fault with the show was the scale of the stage. For a lot of the dance numbers, the stage feels too small to allow for Marshall’s fabulous choreography to go bigger and show off the undeniable talent of the supporting ensemble. They feel cramped in the traverse stage, notably in the titular act one closer “Top Hat, White Tie and Tails”, where moments of linked dancing in circles leave you worrying that one foot misplaced could send the entire group stumbling. The set is mostly minimal on the whole to allow for the ease of dancing at a sudden moment, just a rotating set piece at the back of the stage, which tends to harbour décor for the hotel rooms the characters stay in and set pieces rising and falling from the floor. Practically, this makes sense with the knowledge of the dance-heavy numbers throughout the show, and it is still beautiful to look at with the number of props and elegant details, but if you have seen the film, it is very hard to let go of what a film set can achieve in grandiosity.
Overall, Marshall’s choreography and ambition for what Top Hat can be leave you with a sense of joy that can only be brought about by a good, old-style, glitzy musical. Few shows currently compare to this in style, look and feel, and I think that both Marshal, the design team and the cast have brought about a much-needed Hollywood glamour to the theatre. It’s fun, filled with clever quips and gags and some jaw-dropping footwork that leaves you in awe from start to finish. Top Hat feels like a show with something for everyone – whether you are there for the flashy tap numbers, the tender ballads, the exquisite costuming or the pantomime-esque comedy. It leaves you smiling, rolling your eyes, and eagerly awaiting a chance to tap your toes. It is exactly what a big summer musical should be, and even with a few minor pacing issues and wishes for the show to go even bigger, it is well worth a watch and a trip down to Chichester Festival Theatre to catch it during the run.
Top Hat plays at Chichester Festival Theatre until 6 Sept before embarking on a tour until 2026.
★ ★ ★ ★
