“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.
“the entertainment factor is what drives this show with its irresistible force”
Kid Pop (Jonny Labey) is a rock star; top of the game and at the height of fame. He has the whole world in his hands, yet he is in the firm clutches of his addiction to cocaine and alcohol. Inevitably he is up against an unsympathetic judge after the tabloids splash his drug habit on the front pages. Expecting a custodial sentence, he is instead sent into rehab for sixty days. Kid Pop cockily accepts this as a free holiday rather than the journey into the wilderness we follow him on. He is, of course, in denial. In control. The drugs are in control – but so is his pr man, Malcolm Stone (Keith Allen) whose hold over him proves to be almost as fatal as the narcotics. Labey and Allen are portraying vivid caricatures here, but the beauty of their performances lightens them into warm shades of humanity. A skill shared by the entire cast.
The story, to some degree, stems from songwriter Grant Black’s and Britpop poet Murray Lachlan’s personal battles with addiction and mental health. But far from preaching they have alchemised their experiences, along with writer Elliot Davis, into a shining gem of musical theatre. It has just the right balance of humour and pathos, shallowness and depth to appeal to the masses. Yes, the journey is a touch predictable, and the twists in the road clearly signposted, but the entertainment factor is what drives this show with its irresistible force.
Labey is enjoying every moment, barely able to contain his delight even in the darker moments. He has sixty days to recover in ‘The Glade’; the rehabilitation centre populated with his fellow addicts. Depicted as misfits they resemble everyman – perhaps a symbol of the ubiquity of addiction. The velvet voiced Phil Sealey is poignantly magnificent as over-eater Phil while Annabel Giles hilariously recounts the past shenanigans of sex-addict Jane Killy (numerous name-drops of real-life celebrities will surely have lawyers working overtime!). ‘The Glade’ even houses a tanning addict. “Yes – it’s a thing” deadpans John Barr in a glorious turn as Barry Bronze, forever showing polaroids of his orange skin from past holidays.
While Kid Pop counts his days in rehab, Malcolm Stone desperately and ruthlessly tries to keep his protégé in the headlines and his name alive (if not the client). Obsessive, corrupt and foul, Allen amazingly renders him likeable. Jodie Steele gives a star turn as sidekick Beth Boscombe, hard as steel (no pun intended) but with a heart, and voice, of gold. The show stealer, though, is Gloria Onitiri as Lucy Blake, sent into ‘The Glade’ by Stone to spy on Kid Pop. Onitiri’s presence and outstanding vocals are as dangerously intoxicating as the subject matter.
The writers have put together a wonderfully strong piece of theatre. It shuns digging deep into the nature of addiction, but it never belittles it. The abundant humour never mocks these characters – there is too much affection and care in the writing. But let us not forget that this is a musical. And the score is exceptional. From stadium rock to cheesy-pop; power ballads alternate with rousing ensemble pieces. Duets and solos tug our hearts in all directions possible. All pulsing with wonderfully clever and emotive lyrics, and swaying to the rhythms of Gary Lloyd’s sharp choreography.
“Rehab” comes with a message but is so beautifully dressed up in song and dance we soak it up without realising what we are learning. We are just swept along on the highs and lows of a truly addictive performance.
