TOP HAT

Chichester Festival Theatre

★★★★

“polished, good-looking, and filled with tap, tails and timeless tunes”

There’s a certain magic to old-school glamour and Chichester’s revival of Top Hat taps into it with style and affection. Adapted from the beloved 1935 RKO movie starring Fred Astaire and Ginger Rogers, this stage version is a well-turned tribute to the golden age of musicals – immaculately dressed, packed with theatrical flair and brimming with toe-tapping, tap-tap-tapping delight.

Broadway star Jerry Travers arrives in London to open a new show, only to fall head-over-heels for fashion model Dale Tremont. A classic case of mistaken identity leads Dale to mistake him for Horace Hardwick – her friend Madge’s husband – setting off a flurry of misunderstandings, flirtations and fancy footwork, from London to Venice.

Musically, it’s a feast. Drawing from Irving Berlin’s rich songbook, Gareth Valentine (musical supervisor) and Stephen Ridley (musical director) bring warmth and wit to every number – from the suave syncopation of Puttin’ on the Ritz to the dreamlike sway of Cheek to Cheek and, of course, the iconic Top Hat, White Tie and Tails.

Phillip Attmore steps into Jerry’s top hat and tails, bringing precision and considerable dance finesse. A seasoned Broadway performer, he’s at his best when in motion, whether gliding through ballroom routines or tapping with crisp, stylish flair. Vocally, he’s less commanding, and while his performance is confident and capable, he doesn’t quite radiate the charisma needed to make Jerry truly magnetic. Still, his polished technique and assured presence anchor the role with poise. Opposite him, Lucy St. Louis brings a graceful strength to the role of Dale Tremont, the fashion model who finds herself swept up in Jerry’s chaotic orbit. With credits spanning both London and New York, St. Louis gives Dale both sophistication and steel. Her voice is velvety and assured, her movement elegant, and her presence compelling.

There’s excellent support throughout the ensemble, who keep the world of the show buoyant and bright, but it’s the quartet of comic sidekicks who provide some of the most memorable moments. Clive Carter is enjoyably flustered as Horace, the increasingly frazzled producer caught in the crossfire. Sally Ann Triplett’s Madge, arriving in Act Two, delivers deadpan bite and terrific timing, arching an eyebrow with expert precision and adding sharp wit to every droll aside. Their duet Outside of That, I Love You is a particular highlight. James Clyde, as Horace’s solemnly inventive butler Bates, and Alex Gibson-Giorgio, as the exuberantly ridiculous designer Alberto Beddini, lean fully – and delightfully – into their comic types. Their performances don’t just flirt with over-the-top – they leap right over it, yet remain infectious and full of fun. Between them, it’s a toss-up who steals more scenes, though Gibson-Giorgio’s Latins Know How may just tip the balance.

Kathleen Marshall directs and choreographs with clarity and style. Her routines – from sweeping ballroom numbers to crisp ensemble tap – are stylish and deftly handled, if occasionally hemmed in by the physical limits of the stage. The pacing keeps the farce buoyant and the storytelling is clear, even if some of the romantic ideas feel a little dusty by today’s standards.

The production looks stunning. Peter McKintosh’s set is framed by a sweeping illuminated Art Deco arch and anchored by a semi-circular revolve that shifts locations smoothly – from sleek hotel lobbies to the canals of Venice. It’s a smart, fluid design that keeps the action moving and always gives the eye something pleasing to settle on. Tim Mitchell’s lighting adds lustre and atmosphere throughout.

Costumes, also by McKintosh with Yvonne Milnes, are a triumph. The daywear is chic and sharply tailored, capturing the elegance of the era. Dale’s “designed by Beddini” gowns shimmer with 1930s fantasy, while the revue costumes for Jerry’s show add a burst of colour and pizzazz, nodding to vintage showbiz spectacle with theatrical flair.

In the end, Top Hat doesn’t quite dazzle from start to finish, but it’s polished, good-looking, and filled with tap, tails and timeless tunes — a thoroughly enjoyable evening of nostalgic escapism.

TOP HAT

Chichester Festival Theatre

Reviewed on 24th July 2025

by Ellen Cheshire

Photography by Johan Persson

TOP HAT

Rags

Park Theatre

Reviewed – 14th January 2020

★★★

“Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.”

Often described as the sequel to ‘Fiddler On the Roof’, ‘Rags’, originally written by Joseph Stein (who did also write ‘Fiddler’) enjoyed only four days on Broadway in its 1987 debut. Regardless, it was nominated for five Tony awards that year. But, more baffling still, it has never been brought back to the stage, that is, until now.

Revised by David Thompson and directed by Bronagh Lagan, ‘Rags’ tells the story of Jewish immigrants making their way to America at the turn of the twentieth century. Among the boatloads of hopefuls is Rebecca (Carolyn Maitland), with her son David (as played by Jude Muir for this performance), who, without any family or a nickel to her name, is determined to succeed in this new promised land.

As with most sequels, ‘Rags’ has loosely the same narrative arc as its predecessor: A community of traditional Jews fights off the outside world on multiple fronts, be it via assimilation, persecution or modernisation. Certain familiar characters re-appear as well. Ben (Oisin Nolan-Power) for example, a nice but nerdy tailor seeks the affections of Bella (Martha Kirby) whose father, Avram (Dave Willetts) disapproves of the union. I mean, why not just call them Motel and Tzeitel and have done with it.

But ‘Rags’ does depart from ‘Fiddler’ in its sheer volume of historical content, including everything from the 1909 Shirtwaist strikes and the Triangle Shirtwaist Factory fire to the emergence of feminism, the rising popularity of Yiddish theatre and song writing, and culture clashes, not only between different ethnicities and religions, but also first and second-wave immigrants. In order to include all of this, every character symbolises a school of thought, be it capitalism or communism, traditionalism or modernisation. And this leaves little room for any of the characters to have any, well, character. The older generation – aunt, uncle and father – bring a little Yiddish flavour from the old country, but aside from that everyone is a bit bland.

The soundtrack (Charles Strouse/Stephen Schwartz) flits between a klezmer-ragtime fusion, and modern musical numbers. The former is accompanied by a swaggering Klezmer band wondering the stage, playing various bit-parts as they go. The small ensemble brings a tonne of humour and spirit to the production. Clarinettist Natasha Karp is a particular joy to watch, her constant facial expressions a kind of running commentary on the story’s goings-on.

The more modern numbers, however, are generally forgettable and feel mismatched with the themes of the plot.

The set (Gregor Donnelly), consisting of a wall of suitcases, and sparse furniture, provides an atmosphere of transition; of both hope and hardship. Whilst Rebecca, Bella and David have just arrived, the small apartment has been the home of multiple immigrant families before this one, and will no doubt go on to house many more after, and the set succeeds in keeping this feeling of flux throughout.

The cast themselves are gloriously talented, doing their best to inject colour and excitement to a story that drags on at least a half hour too long. Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.

But whilst ‘Rags’ was not intended as a direct sequel for ‘Fiddler’, it’s hard not to consider it as such and, as is often the case with sequels, it doesn’t stand up to comparison. Yes, there are a couple of catchy numbers, a couple of funny scenes, and a couple of moments of heartfelt reflection. But not enough on any count, and unfortunately this revival is less a story of rags to riches, and more rags to run-of-the-mill.

TOP HAT

Chichester Festival Theatre

★★★★

“polished, good-looking, and filled with tap, tails and timeless tunes”

TOP HAT

Chichester Festival Theatre

Reviewed on 24th July 2025

by Ellen Cheshire

Photography by Johan Persson

Previously reviewed at this venue:

TOP HAT

TOP HAT

TOP HAT

Park Theatre

Reviewed – 14th January 2020

★★★

“Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.”

The more modern numbers, however, are generally forgettable and feel mismatched with the themes of the plot.

The cast themselves are gloriously talented, doing their best to inject colour and excitement to a story that drags on at least a half hour too long. Maitland’s vocal control in particular is quite staggering, bringing a coiled strength to the small auditorium.

Reviewed by Miriam Sallon

Photography by Pamela Raith

Rags

Park Theatre until 8th February

Last ten shows reviewed at this venue:

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