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

Previously reviewed at this venue:

THE GOVERNMENT INSPECTOR | ★★★★ | May 2025

THE PIRATES OF PENZANCE | ★★★½ | January 2025

REDLANDS | ★★★★ | September 2024

TOP HAT

★★★★

“nuanced and precise, favouring emotional honesty over melodrama”

Rarely does a historical drama feel as immediate as Robert Bolt’s A Man for All Seasons, written in 1960. This revival brings to life one man’s stand against political pressure and moral compromise, led by a quietly powerful Martin Shaw. The play’s questions about power, integrity and silence feel uncomfortably relevant.

Set amid the political and religious upheaval of 16th-century England, the story follows the final years of Sir Thomas More – statesman, scholar and devout Catholic. As King Henry VIII seeks to annul his marriage to Catherine of Aragon, More finds himself at the heart of a moral and constitutional crisis. His refusal to endorse the King’s actions or recognise him as Supreme Head of the Church costs him dearly. What unfolds is a steady fall from power, as More chooses principle over expedience.

Shaw brings gravitas with a thoughtful, affecting portrayal. His More is marked by quiet dignity and emotional clarity; with measured intensity, he draws the audience into the heart of a profound moral struggle. His performance compellingly captures both the human vulnerability and heroic steadfastness of the character.

Guiding us through the events is Gary Wilmot as The Common Man, who shifts between a variety of working-class roles – a steward, boatman, jailer and more – with a wry self-awareness that breaks the fourth wall. His conspiratorial, humorous commentary invites the audience to reflect not just on the political manoeuvrings of Tudor England, but on the quiet adaptability – and complicity – of ordinary people within systems of power.

Among those manoeuvring within the court are the swaggering Duke of Norfolk (Timothy Watson), the calculating Thomas Cromwell (Edward Bennett), the opportunistic Richard Rich (Calum Finlay) and Signor Chapuys (Asif Khan), the astute Spanish ambassador – all played with conviction and clarity by a uniformly strong cast. Orlando James makes a vivid impression as Henry VIII in a single, pivotal scene. James’s Henry is full of charm and command, shifting from affability to latent menace, revealing the charisma and authority of a ruler accustomed to bending others to his will. While his stage time is limited, James delivers a commanding performance that powerfully establishes the moral stakes of the play.

Meanwhile, Abigail Cruttenden and Rebecca Collingwood bring warmth and depth as More’s wife Alice and daughter Margaret – figures of devotion and anguish who watch helplessly as the man they love walks a perilous path. Sam Phillips adds further nuance as William Roper, Margaret’s fiancé and later husband, torn between his own convictions and his love for Margaret. Together, this trio deepens the emotional tension at the heart of the story.

Director Jonathan Church demonstrates deft control of classic text. His production is nuanced and precise, favouring emotional honesty over melodrama, allowing Bolt’s ethical dilemmas to unfold naturally. Tighter pacing in the second act would have sharpened the dramatic tension further, but overall, it remains thoughtful and well-judged.

Simon Higlett’s set design evokes Tudor England with subtle elegance, creating a functional yet atmospheric space. His costume designs complement this with richly textured fabrics –cotton, wool, velvet, leather and fur that carefully reflects each character’s status and ambition. Mark Henderson’s lighting adds further depth, using shadows and warm, flickering tones to evoke a Holbein painting, enhancing the production’s rich historical atmosphere.

Though set in a world far removed from our own, the play’s timeless questions about integrity, compromise and the cost of standing by one’s beliefs resonate with urgent relevance. This production lets Bolt’s powerful writing speak for itself. It’s an intelligent work that both challenges and entertains.

Tag Archives: Recommended Show

TOP HAT

★★★★

Chichester Festival Theatre

TOP HAT

Chichester Festival Theatre

★★★★

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