TOP HAT THE MUSICAL | EDINBURGH PLAYHOUSE | UK TOUR
★★★
“A little flat, like a glass of pink champagne left out for too long…”
Based on the 1935 movie starring Fred Astaire and Ginger Rogers, Top Hat is the story of Broadway star Jerry Travers’ pursuit of beautiful model Dale Tremont, but while it might be love at first sight for the New York hoofer who instantly vows to abandon his bachelor ways, the subject of his affection is less than inclined to succumb to his love-sick advances… initially at least.
And so begins two hours and 35 minutes of music, dance and mistaken identity fuelled mirth played out on Peter McKintosh’s gloriously set design – it’s bright and breezy, reflects the art deco chic of the day and perfectly complimented by the stylish cut of Yvonne Milnes and McKintosh’s eye-catching costumes.
Under the baton of lively conductor Stephen Ridley bobbing away in the pit, the 11-piece band, led by musical director Luke Holman ensure Irving Berlin’s ever-green favourites Cheek to Cheek, Let’s Face the Music and Dance, Top Hat White Tie and Tails and, the opening number, Puttin’ on the Ritz, all receive a rapturous reception.
However, there’s a suspicion that applause may be one of familiarity more than anything as what this production boasts in sparkle, it lacks in chemistry; ensemble set pieces are well drilled and nicely delivered but individual dance routines are under energised and often vocally lacking – Peter Groothuis’ sound design is lost in the 3,000+ seat auditorium.
Underwhelming in the lead role, Phillip Attmore’s Jerry Travers never comes close to matching the charismatic warmth of his screen counterpart, although Amara Okereke, as his love interest Tremont, crafts a suitably rounded three dimensional creation.
James Hume, meanwhile, brings comic bluster to theatrical entrepreneur Horace Hardwick, but it’s Sally Ann Triplett, as his wife Madge, who really shows her comedy chops with an energetically rambunctious turn that sparks Act II into life. That said, with much of the humour coming from waspish one-liners, it’s James Clyde, magnificently truculent as Hardwick’s man servant Bates, who ensures the laughter flows throughout, and he is rewarded with the best gag in the show. It might all be a bit over the top, but then for all its glitz and glamour, Top Hat is a farce at heart or should be.
And that’s the problem, farce should be madcap, zany, and that needs bountiful energy. Here, though slickly presented, Kathleen Marshall’s direction is too languid, her choreography lacking pizazz… a bit like a bottle of pink champagne that has been left sitting with its cork out for too long, the fizz has gone.
