Stepping into the Theatre Royal, Nottingham on this early October evening is just the tonic, for it is like entering a time capsule of glamour, warmth, wit and old style toe-tapping brilliance. This dazzling stage adaptation of the iconic 1935 Fred Astaire and Ginger Rogers film is an absolute masterclass in musical theatre, blending old Hollywood charm with modern theatrical finesse. Directed and choreographed by Kathleen Marshall, the production is a sumptuous spectacle that leaves you longing to step up onto the stage and into a past that never existed.
From the moment the curtain rises, the show bathes us in light and warmth. Phillip Attmore, reprising his role as Jerry Travers in the Chichester Festival Theatre production, demands our eyes with charisma, poise and astonishing tap prowess. His performance is an homage to Astaire, yet he brings his own style, flamboyance and personality into the performance. Playing opposite him is Amara Okereke as Dale Tremont who has a really quite magnificent voice and razor-sharp comedy timing. Together, these two glide around the stage with a chemistry that is second to none. Their scenes together are beautiful
The plot, in true Hollywood fashion, involves mistaken identity, romantic entanglements and a whirlwind of farcical miscommunication. It’s a very funny and whimsical story, and all set to the quite spectacular music of a certain Mr Irving Berlin. The show is packed with so many nostalgic musical hits – “Let’s Face The Music And Dance”, “Puttin’ On The Ritz”, “Cheek To Cheek” to name just a few. These and so many more keep the toes a-tapping as the show rolls on.
Supporting cast shine just as brightly as our principal players – Sally Ann Triplett is a comedy powerhouse as Madge Hardwick, delivering every line with sassy bite and warmth. James Hume’s Horace Hardwick is charmingly befuddled, while Alex Gibson-Giorgio’s Alberto Beddini steals every scene in Act Two with his flamboyant hair and impeccably over-the-top Latin charm. It is, however, James Clyde who wins my affections the most as Bates, the valet with the biggest laugh out loud moments of the evening.
It is perhaps a phrase all too overused, but in this case all too true – this show is a real feast for the senses. Peter McKintosh’s set and costume design perfectly evoke the opulence of 1920’s Hollywood and European High Society. It is all here – the lavish hotel suites, Venetian canals, and glittering ballrooms, all rendered before us with theatrical ingenuity. The central revolve means that scene changes are smooth and as elegant as the rest of the piece. Coupled with Marshall’s choreography, the result is astonishing. Tap routines are executed with energy, precision and panache by the whole ensemble and the audience respond in kind with adoring applause. The music is lush, and under the watchful eye of musical director Stephen Ridley, a fabulous live orchestra delivers Berlin’s score with verve and sway.
This production is a real winner – it pays tribute to the cinematic roots of the piece while embracing the modern possibilities of live theatre. It feels so timeless and classy. It really is a feel good song and dance show to chase away the creeping winter blues. Pure escapism! Whether you’re a fan of classic musicals or a newcomer to the genre, this production is well worth seeing. You’ll be reaching for your top hat and tap dancing your way back out into the chilly October air.
Top Hat plays at the Theatre Royal, Nottingham until Saturday 11th October 2025.
