Top Hat oozes the kind of charm you only find in those old Hollywood classics through its cast, their footwork and music you can’t help but sway to.
There’s something about a musical with low stakes still managing to present compelling personal drama that will always tickle me. Top Hat delivers this in a way that only those classic older musicals can, with farcical identity confusion and cross-dressing butlers giving their best crack at espionage.
In other shows, these kinds of tropes that often crop up in musicals of this era may not have worked as well but in this case, it served the story very well. The widespread identity mix-up at the heart of the narrative offered levity and humour that continued to get funnier the sillier it became, with more and more people mistaking Jerry Travers for Horace Hardwick (while of course blaming Horace for Jerry’s actions).
This production had a lot of moving parts that made the show a success but if I had to pick one element that stands out above the rest, the dancing would be that key piece. Everyone in the ensemble puts in an excellent level of effort and talent to making the numbers so vibrant. This really shines through in numbers like “Top Hat, White Tie and Tails” where everyone needs to be in sync. My top hat must go off to Phillip Attmore in particular though who plays the lead role of Jerry Travers. There was an elegance and grace to the way he moved that was reminiscent of those old Hollywood stars we all love. His tap skills in particular were perhaps the most impressive.
I think my favourite moments in this show are probably any moments Attmore spends with Amara Okereke who plays Dale Tremont. Their scenes together were electric. The combination of his charm and her fire make for something really special and I can’t stress enough that when these two dance together, it’s magic. They move as one and have such a natural chemistry that flows through them as they dance. “Cheek To Cheek” is some of the most fun I’ve had at the theatre in a while. Slick, polished, gorgeous. Granted, I’m slightly bias as I have a great love for that song but I was thoroughly charmed.
Though all the singing was to a high standard, Okereke’s vocals were delightful and really brought the music alive. This score is a gift in the sense that it really takes you back in time offering an escape from the world we know. If I had one note regarding both the singing and music, it would simply be volume. There were moments in the first act where things felt a little quiet when some of the numbers should have felt bigger. Even soft music should still be heard. However, I believe this may have had more to do with certain mics needing turned up than anything else and it was opening night so I’m willing to give them some grace on that front. Plus, it really only seemed to be towards the beginning of act 1. Funnily enough, things seemed to be louder after a short interruption due to technical issues, though that was unrelated to sound.
On the subject of tech, the set was very pleasing to the eye. I’m not sure what it is but there’s something about a clockface being the focal point of a set that just really works for me (especially when it revolves). It was visually striking.
I can’t talk about this show and not mention the insanity that is Bates. Truly a wild character. I love you Bates. You’re mad and hilarious and the show would not have been the same without you or the impeccable comedic talents of James Clyde. Myself and those around me were definitely on the same page with how ludicrously funny you were.
There was a lot to love about this production, from gorgeous music to dancing that makes you envious you can’t move like that (I’m not much of a dancer). Overall, I think what made this show for me on the day was how light-hearted it is. Nothing too serious, just shenanigans and hijinks with some foot-tapping songs and a really talented cast. If you’re looking for an escape, to get lost in something fun, go and see Top Hat at the Edinburgh Playhouse.
Author: Ross Bevan