Watching Top Hat in the theatre, it really does seem quite extraordinary that it was not until 2011 that Irving Berlin’s 1935 film first appeared as a stage musical. Originally conceived at RKO Radio Pictures as a vehicle for Fred Astaire and Ginger Rogers, even in its original format it looks and feels like something made for the stage.
Matthew White and Howard Jacques’ adaptation was originally produced by Kenny Wax, and became Milton Keynes’ Theatre’s first world premiere, prior to two major tours separated by an 18 month West End run.
What we see this week at Liverpool Empire is a brand new production which has enjoyed an acclaimed run over the summer at Chichester Festival Theatre and is now on just its second date of an extensive UK tour. Again co-produced by Kenny Wax the show, with new direction and choreography from Kathleen Marshall, has stage and costume designs by Peter McKintosh and Yvonne Milnes.
Much has been made of Top Hat’s ‘flimsy’ plot but, to be fair, it is no more precarious than many of Shakespeare’s comedies, featuring a case of mistaken identity that results in an increasingly frustrating and frequently hilarious sequence of events in which the two star-crossed lead characters Jerry Travers and Dale Tremont appear destined never to make it to the altar. Popular heartthrob Jerry arrives in London to lead in a big show produced by Horace Hardwick, and here he meets the glamorous fashion model Dale, who in turn is about to embark on a modelling trip to Venice, where she plans to meet up with Hardwick’s long-suffering wife Madge.
Jerry and Dale meet awkwardly as a result of Jerry’s habit of tap-dancing in his hotel suite in the middle of the night, but their mutual attraction is instantaneous. Unfortunately neither deigns to offer their name, leading Dale to mistakenly believe that she has been seduced by the (very married) Horace.
Jerry impetuously follows Dale to Venice, where the mayhem escalates to the point that Dale, in a moment of exasperation, marries Alberto Beddini, the designer whose gowns she is modelling.
With some rather late but nonetheless welcome help from Hardwick’s bumbling valet Bates, the situation is revealed to be a sequence of dreadful misunderstandings. In an ending that Shakespeare himself would have been pretty chuffed with, one of these misunderstandings provides a neat solution to everyone’s predicament, providing is with a happy outcome and, you’ve guessed it, an opportunity for one more song and dance routine.
Phillip Attmore and Amara Okereke are spectacular as Jerry and Dale. Not only do they both have the voices and the moves for the roles (Attmore himself providing additional tap choreography) but they have great on-stage chemistry together. These are a lovable pair and have the audience rooting for them for the full 2½ hours of the show.
The supporting cast are excellent too, with Sally Ann Triplett in particular giving a gloriously dry and witty reading of Madge Hardwick that leads me to think she would have great potential for the lead in Mame. James Hume is perpetually befuddled as Horace, while Alex Gibson-Giorgio and James Clyde provide very funny turns as Beddini and Bates.
But the above are just the headliners in a cast of 26, who fill the stage with glorious song and dance, and there is a great balance between full company numbers and solos and duets for the leads, all of whom get their time in the limelight. This is supported throughout by sumptuous playing from a superb pit orchestra, conducted by Stephen Ridley, who bring Chris Walker’s lush, nostalgic orchestrations to life.
McKintosh’s immensely clever set design is absolutely steeped in detail and, assisted by Tim Mitchell’s rich lighting, it takes us from the dour formality of London in the first act to the glamour of Venice in the second. Milnes and McKintosh meanwhile bring real class to the costumes, in which silks, satins and ostrich feathers transport us right back to the 1930s. Thanks to sound design from Paul Groothius, this production proves that a stage musical doesn’t need to have ear-splitting audio levels to fill the theatre and captivate an audience. It is a joy to be able to hear the beauty of the orchestral playing and the stage vocals with crystal clarity.
Whilst Act I contains more musical numbers and is shorter, it counterintuitively feels a slower burn, as it sets up the situation for Act II. Once we arrive in Venice after the interval, the pace ramps up, and there is more dialogue-driven development before the songs start flowing again as we head towards the denouement.
Top Hat feels as though it has found its rightful home in this lavish, witty and visually stunning production, graced with consistently tremendous performances both onstage and in the pit. It also leaves the audience going home with smiling faces and heads filled with memorable show-tunes.
Top Hat is at Liverpool Empire until 1st November and then continues touring, with dates booking through to April 2026.
Star rating: 4½ stars
Production Photographs by Johan Persson
Amara Okereke and Phillip Attmore as Dale and Jerry 
Phillip Attmore with members of the ensemble 
Members of the cast of Top Hat 
Amara Okereke and Sally Ann Triplett as Dale and Madge
This review was originally written for publication by Good News Liverpool
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