Performance Run: Tuesday 10 - Saturday 21 March 2015

Performanced Reviewed: Tuesday 10 March 2015 (Press Night)

The trend of the great movie musicals of yesteryear being once again re-imagined on stage seems to be as ubiquitous as ever of late - you can nary go a week or two in the touring theatre circuit without stumbling upon a reinvigorated or recycled Rodgers and Hammerstein, or, indeed, Berlin, jazz-handing or soft-shoeing it’s way onto the boards. And whilst there is, it has to be said, often a nostalgic warmth in getting to revisit the classics, far too often such productions seem content to rest on their laurels of familiarity - lingering comfortably in 3 star territory (subjective, of course) and knowing that the title alone, with the odd celebrity-lite headliner, will be enough to get the audience in.

Thankfully, there are the exceptions - and of which Top Hat is undoubtedly the finest since last year’s sensational tour of Singin’ in the Rain. As per Singin’, this is a London production taken on tour, though it’s worth noting that this particular show originated on tour before it’s West End transfer. But, regardless of semantics, this is big, bold, dazzling musical theatre adaptation writ large and done right. Based on Fred and Ginger’s 1935 classic screwball comedy musical of the same name, and positively bursting with a slew of iconic numbers including ‘Cheek to Cheek’, ‘Let’s Face the Music and Dance’, ‘Puttin’ on the Ritz’ and it’s titular piece, Top Hat not only has the excellent pedigree of what has come before in its favour, but also an approach to it’s adaptation that is as meticulously detailed as it is broad in ambition and stunning in execution.

Across the board - from Jon Morrell’s luminous costume design to Hildegard Bechtler’s rich, evocative sets, that all showcase the decadance and glamour of the 30’s in sumptuous style - this is a truly gorgeous, impeccably constructed vision of musical theatre that offers production values few can boast. The visual impact and realisation of the show cannot be understated - doubly so by dint of this being a production taken on tour. Set your expectations for West End standard of showmanship and you will not be disappointed.

It is a plaudit that extends to the talent on stage as much as those who have worked behind it. Alan Burkitt and Charlotte Gooch reprise their lead roles of Jerry Travers and Dale Tremont, two star-crossed lovers-to-be who become embroiled in a genuinely funny and engaging romp of mistaken identity and comedy of errors. The pair, both of whom appeared in the West End run of the show, step faultlessly into Fred and Gingers’ shoes - effortlessly engaging, immediately winning and uncannily reminiscent of the era. Burkitt in particular seems plucked straight from the 30’s, whilst the radiant Gooch, whose performance is perhaps a little more contemporary and less imitative, is particularly nuanced and convincing in the character’s more emotional and dramatic ebbs. Individually, they are superb; together, they are simply captivating - their exquisite, precise yet ever-graceful, and indeed characterful, mastery of Bill Deamer’s wonderful choreography is an utter joy to behold throughout.

The supporting cast, likewise, crackle with the same indefatigable vim and charge. Clive Hayward and Rebecca Thornhill hoover up scenes with comedic relish and spark as bickering husband and wife duo Horace and Madge, with Hayward in particular benefiting from the surprisingly cutting and witty dialogue and wordplay that the show boasts. John Conroy is a frequent delight as Horace’s jaded yet loyal valet Bates and Sebastian Torkia, meanwhile, threatens to steal the entire show midway through Act II as his impassioned, exuberant Italian fashion designer Beddini becomes deeper embroiled in the screwball madness. Torkia gives a frenzied, whirlwind masterclass in physical and character comedy and puts in one of the most enjoyable and notable supporting performances of recent memory. Also, keep watch for the standout Matthew Caputo amongst the uniformly excellent ensemble, commanding every step, swing and beat of choreography he is given with eye-catching precision and assuredness. 

Top Hat is a true avatar of the old-school, Hollywood movie musical in spirit, style and execution. It positively radiates classical showbiz glitz and glamour at every turn, with every facet of the production steeped in quality and rich in detail. The inventive stage work, vibrant characterisations and sharp writing also make it an easier recommendation for younger audiences more familiar with their Fantine’s and Frozen’s than they are their Fred Astaires.  An evocative, spell-binding, toe-tapping evening of vintage musical delights, all executed to a standard few equivalents can boast and a cast that are simply ‘heavenly’ - you’d be hard pressed to imagine even the Ritz puttin’ on a better show. Face the music, put all your eggs in one musical basket and be sure to catch Top Hat post-haste.

You won’t be disappointed.

 

RATING - ★★★★★

 

TOP HAT is running at the Birmingham Hippodrome from Tuesday 10 to Saturday 21 March 2015.

CLICK HERE for more information on the show's run at the Hippodrome and to book your tickets!
Alternatively, call Ticket Sales directly on 0844 338 5000 now to book your tickets!


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Press tickets for this performance of Jack and the Beanstalk were provided courtesy of the Birmingham Hippodrome directly. The author gratefully acknowledges their generous invitation.

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Readers who submit articles must agree to our terms of use. The content is the sole responsibility of the contributor and is unmoderated. But we will react if anything that breaks the rules comes to our attention. If you wish to complain about this article, contact us here