I am not sure if I have ever actually seen the 1935 film Top Hat, but it is well known for its iconic paring of Fred Astaire and Ginger Rogers and their wonderful dancing.
As a fan of musicals and dance I was certainly looking forward to seeing this production (adapted from the film by Matthew White and Howard Jacques, and directed and choreographed by Kathleen Marshall), which was only first staged in the West End in 2013 and was quickly showered with awards.
The plot concerns the American dancer Jerry Travers coming from New York to London to star in a show produced by Horace Hardwick and falling in love with Dale Tremont, whom he encounters in their hotel in London when she complains about the sound of him dancing late at night disturbing her sleep. The course of their relationship is protracted and complicated by that old chestnut of mistaken identity, dwelt on in the second half of the show, set in Venice.
Fred Astaire and Ginger Rogers are obviously hard acts to follow, but as Jerry Phillip Attmore impresses with his dancing (there’s a lot of tap) as well as his singing and acting. As Dale Amara Okereke (so wonderful as Mary in the just-released Alan Bennett film The Choral) impresses more in the singing than as the essential clotheshorse for Italian designer Alberto Beddini. The plot such as it is hinges on the ‘romance’ between these two characters, but I found Jerry’s pursuit of Dale rather creepy, at least until she suddenly reciprocates; I can’t help feeling a more sensitive handling of this key aspect of the plot would have been possible.
Thankfully the central couple are supported by a range of engaging comic characters, all played superbly. As producer Horace, James Hume seems to be channelling delightfully Disney legend David Tomlinson. His wife Madge is played with great gusto and comic effect by Sally Ann Triplett. Their duet ‘Outside of That, I Love You’ was a particular highlight. Especially amusing was James Clyde as Horace’s deadpan and disdainful but ultimately dedicated valet Bates, who adopts a range of incongruous disguises as he keeps an eye on Dale. Despite being saddled with the role of comic foreigner Alex Gibson-Giorgio as designer Beddini eventually triumphs in his own unforgettable number ‘Latins Know How’, delighting the audience with his entertaining wedding night disrobing.
In addition the large ensemble of singers and dancers provide meticulous support, with Pedro Donoso making a particular impression with the sharpness and energy of his performance. Adding significantly to the impact of the show is the set, designed by Peter McKintosh. Dominated by a semicircular backdrop which changed to reflect the geographical setting, highly effective use was made of a revolving section within it to move to and from location and character with speed and sometime comic effect. The lighting was impressive too.
Of course ultimately the legendary songs and music of Irving Belin are the thing, and an especial highlight occurs at the climax of the first half with an exhilarating performance of ‘Top Hat, White Tie and Tails’; the caneography was wonderful. Overall then despite its rather protracted length and some dodgy story aspects the show is undoubtedly a wonderful treat of singing, dancing and music (though I think Kathleen Marshall’s production of Cole Porter’s Anything Goes was superior). I am looking forward to watching the film now!
Shaun Tougher
Until November 15