London – There is something quietly restorative about Top Hat.https://www.tophat-musical.com/ From the opening mood alone, it makes no apology for elegance, romance, and joy – and in doing so, it feels almost radical. This is a musical that knows exactly what it is: light on its feet, exquisitely polished, and unapologetically devoted to pleasure.
Described, quite rightly, as “the musical equivalent of the finest vintage champagne”, this production lives up to that promise. It sparkles. Not in a loud or brash way, but with assurance, refinement, and a sense of craft that comes from trusting timeless material. Irving Berlin’s score – from Cheek to Cheek to Let’s Face the Music and Dance – doesn’t need reinvention; it needs room to breathe. Here, it gets exactly that.
The story unfolds with a delicious sense of mischief. Jerry Travers, a Broadway star newly arrived in London, quite literally dances his way into Dale Tremont’s life, interrupting her beauty sleep with tap shoes rather than charm alone. What follows is a classic romantic tangle of mistaken identity, thwarted intentions, and crossed desires – a plot that understands the joy of complication and the humour of misunderstanding. The confusion between Jerry and his producer Horace, the looming presence of Horace’s formidable wife Madge, and the stylish disruption caused by Dale’s Italian admirer all combine into a narrative that feels buoyant rather than frenetic.
Kathleen Marshall’s direction and choreography sit at the heart of this production. Her pedigree is formidable, but what comes across most strongly is clarity and generosity: choreography that serves character and story, and staging that allows the audience to luxuriate in movement, rhythm, and timing. The tap – enhanced by additional choreography from Phillip Attmore – feels integral rather than ornamental, woven into the emotional and comic fabric of the show.
Visually, Top Hat revels in its own beauty. Lavish sets and glamorous costumes do not merely decorate the stage; they construct a world where romance feels plausible, elegance is currency, and music is a way of moving through uncertainty. There is a careful balance here between spectacle and wit, between polish and playfulness.
The cast is anchored by Phillip Attmore as Jerry Travers and Amara Okereke as Dale Tremont, whose pairing sits at the centre of the show’s romantic momentum. Around them, Clive Carter’s Horace Hardwick and Sally Ann Triplett’s Madge provide comic tension, while James Clyde and Alex Gibson-Giorgio enrich the story’s social texture. The ensemble completes the picture with precision and vitality, reinforcing the sense that this is a production built on collective rhythm and shared joy.
What Top Hat ultimately offers is not escape in the shallow sense, but permission: permission to delight in music, movement, and romance without irony. It invites the audience to “face the music and dance” not because trouble isn’t ahead, but because beauty, love, and elegance are still worth choosing.
You leave with the distinct feeling that for a few hours, the world has been arranged into something lighter, kinder, and impeccably choreographed – and that is no small gift.