Top Hat
Sunderland Empire
Until Saturday 22 November 2025
90 years after the RKO movie consolidated the star power and box office appeal of Fred Astaire and Ginger Rogers, Chichester Festival Theatre’s stylish touring production confirms the timeless appeal of Irving Berlin’s score and the effervescent, feelgood story, with some lively character playing and a talented ensemble.
Top Hat was a movie of high style, with dazzling studio sets that made the most of its black and white cinematography. Here, Peter McKintosh’s set design echoes this brilliantly, with an Art Deco arch comprised of video screens backing the set and a raised revolve at its centre, making for smooth, effortless scene changes. The impressive band, under Stephen Ridley’s skilled direction, also underpins the lush, period feel. The vocal clarity and precision throughout were very welcome.
The story is feather-light and centres around the efforts of American Theatre star, Jerry Travers, to woo the elegant Dale Tremont against a background of confusion and mistaken identity. It features many of Irving Berlin’s most iconic songs, like Cheek to Cheek, Isn’t This a Lovely Day, Let’s Face the Music and Dance and of course the title number.
The show has a wealth of character roles and Kathleen Marshall’s direction neatly points up the comedic quality of the script, allowing the actors to make the most of their roles. Sally Ann Triplett, one of our brightest West End stars, with a back catalogue of countless musicals, showed her class as the worldly and acerbic Madge Hardwick. Her efforts to keep her husband, Horace, in line make for much of the comedy in the show. James Hume’s portrayal of the errant, bumbling Horace was nuanced, charming and very funny.
Likewise, Alex Gibson-Giorgio as Alberto Beddini, Dale’s dress designer and would-be fiancé, draws all the laughs from this absurdly vain and self-obsessed character. Completing the quartet of comedy roles, James Clyde has a marvellous time as Bates, Horace’s disapproving manservant, full of dry wit, cunning disguises and a hilarious repertoire of family proverbs.
Philip Attmore as Jerry is at his best in the tap-dancing scenes, where he contributed to the choreography, with his flamboyant American style of tapping. His vocal performance is on the light side, much like Tom Chambers, who originated the role in London. The character of Jerry is a born performer, and Philip certainly doesn’t hold back with his very self-assured characterisation. Unfortunately, his partnering of Amara Okereke’s Dale somehow fails to show her off to her best advantage. After years of Strictly Come Dancing, we should recognise that audiences are much more attuned to such subtleties.
This may be down to the newness of the partnership, however, as this was the first venue of the tour and Okereke is fresh to the role, replacing Lucy St Louis from the Chichester production. She is particularly at home whilst singing, with a pure, tuneful voice of real quality. Her delivery of the wistful ballad, Better Luck Next Time, was a real highlight.
The musical numbers were disciplined and well-staged, although the size of the raised section of stage limited their scope at times, making some of the classic dance scenes feel a little cramped. Although the choreography of the group numbers was performed to perfection with a tight, skilled ensemble, I would have liked to have seen more of the inventiveness and ‘wow factor’ of the 2011 West End production’s within this touring show.
Nevertheless, such personal preferences aside, this is a polished, tuneful, amusing and entertaining production that provides an evening of nostalgic elegance that everyone can enjoy.
Review: Helen Cash
Photos: Johan Persson
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