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

Falling Stars

Online a stream.theatre

Reviewed – 23rd November 2020

★★★★

“Sally Ann Triplett’s gorgeous, velveteen voice covers many of the ballads with a sensual warmth, rich in emotion”

In today’s current climate people are either pushing forward towards a somewhat uncertain future or taking a stroll down Memory Lane. The latter is invariably a journey accompanied by nostalgia, and it is through Peter Polycarpou’s rose tinted glasses that we are invited to view a snapshot of the music and the spirit of the 1920’s. Subtitled ‘A Celebration of the Golden Era’, it packs into an hour a treasure trove of melodies; a mix of the familiar with the obscure and in the process, we discover some real gems.

We are told, in the opening credits, that the production was cancelled on day one of rehearsals due to the lockdown, but that Polycarpou was determined to reach his audience, so in the space of three days he recorded the show for streaming online. A timely reminder that the explosion of creativity being celebrated here came out of a world reeling from the aftermath, not just of World War I, but also the third (take note!) wave of the ‘Spanish Flu’ pandemic. It is a century since such adversity gave way to the Roaring Twenties and the Jazz Age, and it is shows like Polycarpou’s song-cycle that give us hope that history will come full circle again and there is always cause for celebration.

“Falling Stars” is clearly a labour of love. The premise being that while killing time before a matinee show, he wandered into an antique shop, discovered a battered songbook and bought it for a song. Literally. Polycarpou’s excitement is infectious as he leafs through the pages and recruits Sally Ann Triplett to perform extracts and full-blown numbers from the songbook, translating the dusty, monochrome dots on the page into a multicoloured, multi-layered revue.

It is quite a whirlwind of a tour and comes across as a rather indulgent history lesson at times and, although fascinating, it is sometimes hard work to keep up with the rapid-fire catalogue of composers, lyricists, songwriters, performers and songs. It works best when Triplett and Polycarpou turn away from the camera and interact with each other. But better still when they melt into the songs. Polycarpou oozes personality and joie de vivre while Sally Ann Triplett’s gorgeous, velveteen voice covers many of the ballads with a sensual warmth, rich in emotion.

The title number, “Falling Star”, penned by Meredith Wilson and Charlie Chaplin, is one such fine example. It is quite a revelation to learn what a prolific and talented composer Charlie Chaplin was, particularly on other numbers too, such as the duet, “Now That It’s Ended”, and “Smile”, performed by Polycarpou accompanying himself at the piano. The evening contains a diverse set of numbers that shines a spotlight on many unfamiliar tunes as old favourites, intimately performed by the duo with Musical Director Mark Dickman on piano. Andrew Exeter’s lighting beautifully evokes the setting, merging the shadows of the antique shop with warm washes that tease the sentiment out of the lyrical content. But even in a bare, characterless backroom of a shop, Triplett could evoke the yearning and the passion of these songs, as she shifts from the plaintiff “Why Don’t You Leave Me Alone” to the upbeat duo “Tea For Two” or Buddy De Sylva’s “You Ain’t Heard Nothing Yet”.

The show closes with the achingly beautiful Irving Berlin number, “What’ll I Do?”, a bittersweet eulogy to lost love and faded dreams. It is countered, though, with a final echo of Chaplin’s inimitable verse; “You’ll find that life is still worthwhile, if you’ll just smile.” A bit mawkish, perhaps, but exactly what we want right now.

Tag Archives: Sally Ann Triplett

TOP HAT

★★★★

Chichester Festival Theatre

TOP HAT

Chichester Festival Theatre

★★★★

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