“The production values are up there with the best”
On its release in 1935, the Fred Astaire and Ginger Rogers film of “Top Hat” was recognised for its flaws but generally it was received positively. The New York Times praised the film’s musical numbers, but criticized the storyline, describing it as “a little on the thin side”. In retrospect it was described as a “glamorous and enthralling depression-era diversion”. When the musical adaptation had its world premiere a decade ago, little, if anything, had been done to thicken out the story but six more songs by Irving Berlin were added to the eight that were featured in the film. Initially playing out of town it made its home at the Aldwych Theatre for the next year and a half.
The revival at the Mill at Sonning sees it scaled down; but only in terms of the intimacy of its playing space. The production values are up there with the best, and the feel-good spectacularity (yes, that is a word) is enhanced by being so up close to the action. Nearly a century on from the golden-age of musicals, we can still feel the glow that warms our hearts when we most need it. A “glamorous and enthralling depression-era diversion” has never been more apt a description.
Let’s get the one and only gripe out of the way. “A little on the thin side” is putting it politely. Good, that’s out of the way. The story is based on a singular comedy of error, and spun thinner, but director Jonathan O’Boyle has worked on it with an alchemist’s skill to create theatrical gold. The story follows Broadway star Jerry Travers (Jonny Labey) who arrives in London for his West End stage debut, and then promptly falls for socialite Dale Tremont (Billie-Kay). But being a screwball comedy, things do not go to plan of course. Tremont mistakes Travers for producer Horace Hardwick (Paul Kemble) – a married man – and is therefore horrified at his advances. The themes and wisecracks are pushing their sell by date, but there is nothing that can be done about that, so we are left to face the music and dance.
From the opening bar of the overture to the closing bar of the finale we are enchanted. Jonny Labey is in his element, letting his natural energy and joy wash over us in glorious waves of smooth charisma. Billie-Kay’s cool Dale Tremont counterbalances nicely, gradually warming to Travers’ irresistible charm while never letting herself boil over. Kemble gives a glorious portrayal of put-upon producer Hardwick, matched by Julia J Nagle’s crisp, classy and cool Madge – the wife who pulls the shots. A terrific ensemble fills out the space with West End pizzazz, and the smaller roles are beefed up with real comic flair: Brendan Cull is a constant delight as Bates – Hardwick’s eccentric valet. And Andy Rees hilariously hams it up as Dale’s personal dresser, Beddini.
Everyone is a triple-threat and with Ashley Nottingham’s creative, sharp, synchronistic choreography everyone shares the spotlight. Even the scene changes are choreographed into the action. Natalie Titchener’s costumes seem spun from the golden-age itself, while Jason Denvir’s ingeniously crafted Art Deco set transports us, by sheer sleight of hand, to each location – keeping up to speed with the costume changes.
Many of Irving Berlin’s best-known numbers are given the all-star treatment here. Arranged by Musical Director Francis Goodhand it is hard to believe that he is accompanied by just two other band members (Joe Atkin-Reeves on reeds and woodwind and Callum White on drums and percussion).
Ultimately, though, the show belongs to Labey. The original film was a vehicle for Fred Astaire and Labey comfortably steps into his shoes. His infectious and delightful (often cheeky) grin follows us all the way home. We also cannot shake off the froth and the feelgood factor. Entertainment dances with absurdity and it is the perfect combination. Throw in dinner as well, and the stunning setting of the Mill, you certainly feel like you’re puttin’ on the Ritz.
“It is the role of Salieri that drives the piece through and Chris de Pury gives a masterful and word-perfect performance”
Leading amateur group Sedos takes on Peter Shaffer’s epic play of mediocrity versus genius. A deep stage on four levels is littered with over-sized music manuscripts pasted to the floor and back cloth. A harpsichord sits close to the front of the stage.
The first word we hear in a multitude of whispers is the name Salieri. Rumours abound that the former Court Composer has admitted to murdering his rival Mozart some thirty years previously. Director Matt Gould uses his full ensemble dramatically to set the scene with some impressive choral speaking as the rumours – “I don’t believe it” – are spread across Vienna.
Antonio Salieri (Chris de Pury) appears on the verge of madness, eyes rolling and tongue flicking, wrapped in a blanket and moving uneasily with the help of a cane. De Pury will soon have to portray the younger Salieri, sporting a stylish wig and elegant frock coat, and he manages the transformation convincingly, replacing a gruff and gravelly roughness of the older man, punctuated by manic laughs, with a suave and sophisticated smoothness for the younger. If the actor, according to the programme notes, is worried about his Italian language skills it doesn’t show in this performance.
The stolid character of Salieri is soon to be compared with that of the young Mozart (Alex Johnston), already being hailed as the best new thing in town. Johnston cavorts, giggles, and gambols around the stage. An impressive jump directly onto the top of the harpsichord brings gasps from amongst the audience. With near hysteria in his vocal tone for much of the time, however, some nuance is lacking as the play develops. Sporting a leopard skin print coat (Costume Designer Callum Anderson), this design is subtly matched in the leggings of wife Constanze (Jamila Jennings-Grant) and later in patches on their ragged clothes as the couple slides into poverty. Constanze is played coarsely in the style of a footballer’s wife and most notably in both her love play with Mozart and Salieri’s seduction scene this is not entirely convincing.
The four Venticelli are a delight (Christian Brunskill particularly catches the eye) as they keep Salieri informed of the latest rumours around town, their bustling activity heightening the energy levels on each appearance. Appearances of the Austrian Emperor Joseph I (Adam Moulder) are worthy too of note. Moulder makes the most of this near-comic role, with affected vocal tone, mannerisms and gestures, perfectly balanced.
The element of live performance (Holli Farr & Andy Lee) within the production is delightful. The on/off use of amplified sound to allow solo voices to be heard above recorded orchestral music, however, distracts on some occasions.
Scenes involving the full ensemble are nicely done. Turning chairs around to face upstage so that they become part of the audience at the opera is a nice touch. The use of coloured lights changes the mood at a muddled party scene freeing itself from the historical period but guests doing funky dance moves to electronic music seems incongruous.
It is the role of Salieri that drives the piece through and Chris de Pury gives a masterful and word-perfect performance. At his best when speaking confidentially and directly to the audience with a wink and a knowing smile, we learn his inner thoughts. When he believes he has been tricked by God, Pury spits out his anger vehemently. But did he really murder Mozart? Are the rumours true?
