Chichester Festival Theatre, Chichester, England.
24 July 2025.
What’s not to like about settling down mid-week to be entertained by a classic musical, such as Irving Berlin’s Top Hat!
The curved, shiny-floored, two-level thrust stage design at Chichester Festival Theatre is giving old-style musical hall vibes and hides a multitude of clever extras – the imaginative work of Peter McKintosh. An arched backdrop begins with a 3D silhouette of New York City; the inner part then rotates to change the scene multiple times, from hotel bedrooms, to hotel lobby or Venetian bar. It is ingenious, seamless and attention-grabbing. The entrance to the stage is from doorways on either side, and next to those are realistic lift entrances used to great effect in the hotel scenes. Stairwells used for auditorium access are also used, successfully absorbing the audience in closer into the action.
Bright lights, glittering costumes and smiles from the dancers gave a thrill of excitement as they entered from either side in shining black tap shoes to “Putting on the Ritz”. But immediately, it was clear something wasn’t right as no less than three dancers slipped clean over. They got straight to their feet and continued, but very quickly the stage was evacuated and on came theatre staff with brooms and towels as somehow between warm-up and the start of the show, water had gotten onto the stage.
The audience was very supportive and what a great pre-show extra, when several cast members came out to do a ‘shoe test’ – an impromptu tap improvisation, accompanied by clapping, cheering and whistling!
The audience, well warmed up by now, were thrilled as the sparkling opening number was performed in its entirety and the leading man Phillip Attmore playing Jerry Travers was introduced. With twinkling eyes, cheeky grin and bags of charisma, he was an audience favourite from the outset.
“Every once in a while, I find myself dancing!”
His leading lady Lucy St Louis, playing Dale Tremont, had the stronger voice of the two, but they made a great onstage couple, had good matched energy, and their rapport built significantly through their duet “Isn’t This a Lovely Day”. The staging and choreography in this number was very engaging, taking us from a standoffish Dale being pursued by an enthusiastic Jerry, to their blossoming romance as they beamed at each other and danced on, over and around the benches in the park in the rain.
More excellent casting included the comedic duo Horace Hardwick and his wife Madge, played by Clive Carter and Sally Ann Triplett. The two were visually very entertaining in their exasperated yet loving communication with each other, and with the audience, too. Their duet towards the end of the show, “Outside of That, I Love You”, was delightful through the lyrics alone, but so relatable and funny thanks to their portrayal and interaction with one another.
James Clyde as Hardwick’s assistant was so straight-facedly laughable. His poker-face whilst taking his duties shadowing Dale Tremont in various dress-up guises seriously, were hilarious. And his opening scene haughtily ignoring Horace Hardwick, yet politely taking Jerry’s jacket and presenting him with a drink had the audience chuckling away, as did his preference for square bowties, leaving us certain he would be providing plenty more funny moments.
Multi Tony and Olivier Award winning Director and Choreographer Kathleen Marshall really drew out the show’s natural farcical nature (released as a film in 1935, and as a previous stage production in 2011). The simplicity of such an innocent story of mistaken identity getting so tangled that several people looked guilty was made so enjoyable to watch.
“There’s miscommunication, misinformation, people in disguise, and it’s always important to remember who learns what when. Whichever number you’re working on, remember who is dancing and why,” said Marshall.
Highlights included humorous scenes with dress designer Alberto Beddini, played by Alex Gibson-Giorgio, who threw himself into the Italian representation of his character, providing plenty of laughs as he stripped to his underwear in the bedroom for his new wife, eventually shaking hands with Jerry, once the misunderstandings were ironed out, and agreeing to design a wedding dress for Dale.
And honestly, just the detail that went into the choreography, the staging, swift organised movement of props and scenery, and the background acting added a lot of enjoyable authenticity into each scene. The ensemble dancers were impressive, especially flying up and down between the two staging levels (especially after the earlier falls!) including a fast pinwheel that heart-stoppingly skimmed the edge of the stage! The tap was clear, loud and rhythmical, group numbers not technically difficult, but fast and effective. And Attmore’s solo tap was showy and exciting, a perfect fit. A lovely moment was when he sprinkled sand onto the floor and tap danced in it, creating more of a swishing sound – enhanced by percussionist James Gambold, which soothed Dale off to sleep in the room below, with the gentle rhythm!
The live musicians secreted above and behind the staging area gave a joyful, skilful show. Shame not to have been able to see them for applause during the bows.
A glorious slick finale – a reprise of “I’m Putting All My Eggs In One Basket”, with male dancers in white dinner jackets and red bowties and ladies dresses matching the colour theme, brought the whole show to a satisfying glittering finish, applauded by a very appreciative audience.
By Louise Ryrie of Dance Informa.
