Upon entering the Edinburgh Playhouse, a venue which began as a cinema in 1929, I was immediately transported to the dazzling period marked by Fred Astaire and Ginger Rogers, the leads from the original 1935 film Top Hat.
The musical begins with an electrifying tap number to ‘Puttin’ on the Ritz’, and the audience is engulfed by the glamorous era of top hats and tails. We follow a turbulent blossoming romance between stage sensation Jerry Travers (Phillip Attmore) and feisty Dale Tremont (Amara Okereke), who meet at a hotel after Dale is awoken by Jerry’s tap dancing.
Top Hat faithfully preserves a charming, classic atmosphere, with the lavish costumes and Art Deco-inspired set serving as a time capsule. It is extraordinarily visually stimulating throughout, with different vibrantly coloured costumes for every song. The costumes frequently feature feathers, glitter, and silk, adding to a playfully camp and flamboyant design style.
The onstage chemistry between Attmore and Okereke is palpable, creating a bright and uplifting romance which the audience truly cares about. Attmore delivers a cheeky and effortlessly expressive performance, balanced perfectly by Okereke’s elegance, poise, and sophistication.
Every moment is charged with scintillating wit; the pace is consistently snappy, and the audience is fuelled by a surprisingly hilarious script. The deadpan delivery from James Clyde, who plays the valet, is notably exceptional. The extravagant, pantomime-style performance from Italian fashion designer and malapropist, Alberto Beddini (Alex Gibson-Giorgio), is equally entertaining. My only criticism of the show is the weakness of the stage slaps, which are so unconvincing that they simply add yet another comedic element.
Overall, Top Hat is brimming with passion and excitement. The harmony of the colourful lighting, slick tap solos, and Irving Berlin’s original score ensure a delightful evening, with unforgettable performances from the orchestra and the entire cast.
Image provided by Edinburgh Playhouse.
