The classic 1935 romantic comedy Top Hat returns to the stage in this dazzling new touring production from Chichester Festival Theatre, currently lighting up the Theatre Royal in Nottingham. With a score of glittering Irving Berlin standards and a story full of mistaken identity, unrequited love and high society glamour, the show is every bit the champagne-fizzing romance audiences might expect. Broadway star Jerry Travers (Phillip Attmore) arrives in London to headline a new show, but finds himself in a comic tangle when he meets Dale Tremont (Amara Okereke), who mistakenly believes Jerry is married – to her friend’s husband, no less. What follows is a whirlwind journey across hotel rooms, dance floors and a sun-kissed Venetian set, where love, music and miscommunication collide with style.
Originally adapted for the stage by Matthew White and Howard Jacques, this version of Top Hat stays true to its 2011 West End roots (which famously won the 2013 Olivier Award for Best New Musical), while giving new life to the production with fresh choreography and a pitch-perfect leading cast. Based on the Fred Astaire and Ginger Rogers film, the show leans heavily into nostalgic homage – and it is in its glamour, style and rhythmic spectacle that it excels. Yet beneath the top hats and tails lies a show that gradually finds its emotional centre, thanks to smart pacing and performances that deepen as the narrative unfolds.
White and Jacques’ book does well to balance the frothy charm of the original with a structure that builds to something more grounded. The first act is an all-singing, all-dancing spectacle – a tap-drenched showcase that lets the ensemble shine through dynamic numbers like Puttin’ on the Ritz and No Strings (I’m Fancy Free). Here, the musical leans into its roots as a dance-led celebration, prioritising showstopping choreography over plot progression. While that can lead to a slightly meandering pace at times, the production seems to know exactly what it’s doing – saving the emotional beats for Act Two.
That second half, by contrast, is much more narrative-driven. Characters develop beyond caricature, relationships deepen, and mistaken identities unravel in scenes of deft comedic timing. The contrast is sharp but effective: audiences are given the sugar first, and then the story. That tonal shift is anchored beautifully by the central performances.
At the centre of the storm is Amara Okereke, who dazzles as Dale Tremont. Okereke’s star quality is evident from her first appearance – she blends effortless old-Hollywood charisma with a voice that soars through Berlin’s timeless score. Her vocal versatility and emotional clarity give Dale more depth than the role might traditionally offer, and her dancing is equally impressive.
Attmore, making his UK debut, is a revelation. An award-winning Broadway tap dancer, his command of rhythm and stage presence is irresistible. In the larger ensemble tap sequences, he is magnetic – a masterclass in control and style. Yet he also manages to find surprising tenderness in Jerry’s charm, avoiding smarm in favour of sincerity. Together, he and Okereke offer a central couple that is both entertaining and genuinely affecting.
As Madge Hardwick, Sally Anne Triplett delivers a captivating and vibrant performance. From the playful way she crunches on celery to the effortless chemistry she shares with every character on stage, Triplett brings a wealth of nuance and vitality to the role. Though she only appears in Act Two, her character proves pivotal to the story’s progression—serving as a crucial link between the main characters. Triplett steps seamlessly into the action, grounding the narrative while infusing it with renewed life and energy.
Hume, too, grows into his role as Horace, offering a performance that is layered and charmingly befuddled. He brings a genuine likability to a man caught between chaos and comedy. The only slight misfire comes from the writing of Bates – a character who veers a little too far into farce and feels tonally disconnected from the rest of the show. While Clyde commits fully to the physical comedy, the role feels like it belongs in a different musical altogether.
Visually, Top Hat is a feast. Peter McKintosh’s set design blends classical opulence with theatrical innovation. A giant stylised clock face dominates the stage, offering both grandeur and a gentle thematic nod to the passing of time and missed connections. The set is enhanced beautifully by Tim Mitchell’s lighting design, which uses bold blues, pinks and yellows to transform the space from London hotels to Venetian palazzos. These colour choices might risk garishness in lesser hands, but here they enhance the show’s dreamlike romanticism.
The costumes, also by McKintosh with Yvonne Milnes, are immaculate. From the sparkle of ballroom gowns to the crispness of tuxedos, the design oozes sophistication. The ensemble, often dressed in unique yet harmonised outfits, are dressed with care and detail that enhances the precision of the choreography and the period setting.
That choreography, courtesy of Kathleen Marshall, is the show’s crowning glory. Marshall – a Broadway legend with three Tony Awards – choreographs with flair, rhythm, and a deep respect for the genre. The large group numbers in Act One are tight and exhilarating, while the more intimate dances in Act Two are emotionally resonant and precisely timed. Her direction, while generally confident and stylish, does occasionally falter in pacing – and the tonal inconsistency around Bates is a rare but noticeable bump in the road.
This production of Top Hat is a fine-tuned tribute to golden age musical theatre, but it’s not afraid to slow the tempo when needed. With knockout performances from Okereke, Attmore, Triplett and Hume, as well as choreography and design that shimmer with class, this is a show that feels both familiar and fresh. It’s a musical that knows exactly what it is – a feel-good romance, a dance showcase, and a sparkling night out – and it delivers on all fronts.
While some pacing issues and character inconsistencies remain, they are small shadows on an otherwise glowing spotlight. With timeless songs like Let’s Face the Music and Dance and Top Hat, White Tie and Tails, Top Hat offers audiences a nostalgic, toe-tapping escape – one filled with elegance, humour, and just enough heart to keep it grounded.
Top Hat plays at the Theatre Royal Nottingham until Saturday 11th October 2025 where it continues its UK tour.
Photography throughout from Johan Perrson.
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