BIRMINGHAM Hippodrome was a warm and welcoming theatre last night as it played host to the Chichester Festival Theatre’s touring production of Irving Berlin’s joyous classic ‘Top Hat’.
Welcome respite indeed, from the horrors currently bombarding our thoughts and screens – breath in, soak up the atmosphere and let the magic begin. Conductor Luke Holman strikes up the orchestra and we’re off on a tempting overture of beloved numbers merging straight into the glorious opening tap routine ‘Puttin’ On The Ritz’.
We’re in New York where top-draw song and dance man, Jerry Travers (a sparkling, sure- footed Phillip Attmore) is performing to a happy audience. At the end of the routine, his producer Horace Hardwick (perfect straight man daftness from James Hume) whisks him off across the pond to London for his next gig before his tap shoes have had chance to cool.
Here the sparse storyline begins, with Jerry dancing away in his hotel room to the annoyance of the occupant of the room below. This is fashion model Dale Tremont (superb vocals and dancing from the delightful Amara Okereke) who Jerry predictably falls head over heels for when she comes to his room to complain.
Dale is friends with Horace’s much-married mouthy wife Madge Hardwick (big on-the-money romp from Emma Williams) and mistakenly thinks that Jerry is Horace – Madge’s husband! Attracted as she is to him, she spurns his advances taking him to be a married philanderer.
That’s about as complicated as the plot gets and it’s not giving much away to say that it all turns out alright in the end. We don’t need too much clutter to get in the way of some sensational songs and routines. Just a few takes on old jokes and numbers such as Cheek To Cheek, No Strings, What Is Love? Let’s Face The Music And Dance and of course Top Hat, White Tie And Tails – what a songbook! – all supported by a dazzling ensemble who didn’t put a foot wrong.
Special mention for Alex Gibson-Giorgio as a totally over the top Italian fashion designer, Alberto Beddini. At all times electric, his ‘Latina Know How’ number was off the ‘Many shades of (rib-tickling) grey’ scale. Also making much of the comedy is James Clyde bringing perfect timing and clever drollness as Horace’s nutty butler, Bates.
The direction and choreography from Kathleen Marshall is a smorgasbord of delight, from huge routines with homage to Busby Berkeley to powerful duets and tender solos – she truly delivers so much for us to smile over.
Peter McKintosh’s semi-circular setting with its clever central revolve which turns the scenes like the pages of a book bordered by an outer circle akin to a tiffany glass magic lantern, makes the show’s journey lush and seamless. Add to this bold Kodachrome effect lighting from Tim Mitchell, eye catching costumes from McKintosh again plus Yvonne Milnes, perfect sound from Paul Groothuis, a magnificent orchestra and voila! – it’s a feast for the eyes and ears.
Top Hat is a film adored by generations and starred of course the monarch of tap himself, Fred Astaire. Who remembers their mum and dad singing along to its countless Saturday afternoon telly showings? Whilst this latest stage musical doesn’t – and perhaps never could – surpass the movie, it’s a strong contender.
Top Hat is at the Birmingham Hippodrome until Saturday, March 7. Click here for times, tickets and more information
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