"Top Hat", Glasgow King's Theatre, 21/2/18

In the world of musicals it can honestly be said that many a show is kept alive by the efforts of the amateur company who often perform musicals rarely produced by professional producers and who further the audience and potential fandom of these shows in doing so. It will probably be the case with "Top Hat" which enjoyed a successful, if curtailed, West End run (winning the Olivier Award for Best New Musical) and a following UK tour but which has since all but dropped off the map.

Based on the classic 1935 Fred Astaire and Ginger Rogers comedy movie with songs by Irving Berlin the plot follows dancer Jerry Travers who falls in love with Dale Tremont after his tap dancing disturbs her sleep in the hotel room below his. Tremont incorrectly assumes Travers is the stage producer Horace Hardwick who has brought Travers over to London to open a new show. Hardwick's wife is Tremont's friend and so Dale is disgusted when the man she assumes to be married proposes to her. Screwball comedy ensues.

Of course, the plot is rather weak, as to be expected, but is still none-the-less charming especially when delivered with such aplomb as Paisley Musical and Operatic Society bring to it. It is the Irving Berlin songs that really make the show and with such classics as "Cheek To Cheek", "Puttin' On The Ritz" and "Let's Face The Music And Dance" it's hard to go wrong. 

Berlin's music is handled beautifully by musical director Sean Stirling who treats the score with assurance. There is an element of the ol' Hollywood Glamour that is brought out which succinctly suits the production. 

"Top Hat" is famous as a dance production and PMOS had a difficult challenge before them but their efforts pay off with the elegant choreography of Marion Baird delivered well and confidently by the cast; so much so that I believe the company could have handled even more complex material. 

Alasdair Hawthorn directs another assured production, bringing out the humour and the effervescence of the material with ease. The lighting could be more focused and varied but, in reality, this is a small niggle and, sure, there are moments that require tightening - especially in the transitions - but I've no doubt they'll be rectified as the run continues. There are, indeed, some clever location reveals in the first act which I only wish had continued into the second and it is such small details as these that I enjoy and that Hawthorn often delivers. 

The production has double-cast its leads and, on this occasion, I saw Greg Robertson and Claire Logue as "Jerry" and "Dale" respectively who both lead the company amiably and with confidence. Robertson has a natural charm and easy voice whilst Logue is a sweet and funny performer and they play well opposite each other. They are supported by a company who make the most of the humour and the staging. Alastair McCall as "Horace Hardwick", Iain G. Condie as his manservant "Bates" and Ross Nicol as the flamboyant "Alberto Beddini" all have plenty of opportunity to shine and do so with hilarity. Lindsey Ross also shines as "Madge Hardwick", prowling the stage with a commanding presence and brilliant comedic traits. The ensemble are also ebullient and there are a number who stand out in the odd scene including Robin Cameron's "Florist" and Jenny Carty's "Receptionist". The utilisation of the ensemble is another strength in Hawthorn's direction and there is plenty of business within the company to occupy the audience member.

"Top Hat" is a few hours of joyous, buoyant entertainment filled with cracking musical numbers and numerous laughs delivered by a vibrant, vivacious company who continue to push themselves and each other for the sake of their audiences' enjoyment.

"Top Hat", Glasgow King's Theatre, 2/12/14

Written for Backstage Pass.

http://www.backstagepass.biz/2014/12/theatre-review-top-hat-theatre-royal.html

     "Musical Comedy" sounds like a rather out-dated phrase these days but is an apt term for the rapturous, effervescent production that is "Top Hat" which won the Laurence Olivier Award for Best New Musical in 2013. It is hard to dislike such an upbeat production, although those with a dislike for tap-dancing may wince here and there, and there is much to enjoy in this elating musical.

     The plot revolves around American performer "Jerry Travers" (Alan Burkitt) who journeys to London to star in a new show produced by "Horace Hardwick" (Clive Hayward). Once in London his tap-dancing above the hotel room of "Dale Tremont" (Charlotte Gooch) wakes her and she promptly rushes upstairs to complain, whereupon he falls in love with her. A case of mistaken identity follows and "Jerry" must follow "Dale" to Venice in order to win her heart. The plot may be quite thin but it is blessed with sharp and humorous dialogue and elicited many a laugh from the audience. The adaptation by Matthew White and Howard Jacques from the original RKO film is spritely, full of wit and consistently entertaining.

     As director, Matthew White has constructed a staging that is never lazy or uninteresting to the eye and together with choreographer Bill Deamer he creates some truly wonderful moments onstage including an excellently executed form of 'shadowing' which is used to great effect. It is no wonder that Deamer won the Olivier Award for his choreography as it is simply beautiful to watch and executed precisely. Each number is performed by the strong ensemble who work together uniformly, creating extravagant musical numbers not too often seen these days. The ensemble are even used as part of the transitions between scenes thus creating a smooth fluidity to the show.

The entire production exudes class and elegance; the set design of Hildegard Bechtler encompasses beautiful art deco scenery and natural imagery and creates a cinematic quality to proceedings allowing smooth scenic transitions and swift changes with sleekly moving architectural screens; The costumes of Jon Morrell compliment the scenery effortlessly and are beautiful in themselves and Peter Mumford's lighting is stylish and adds another depth to the onstage imagery imbuing the stage with evocative colours.

     The musical score is, of course, by Irving Berlin and boasts some of his most famous numbers including "Puttin' on the Ritz", "Let's Face the Music and Dance" and "Cheek to Cheek" and is expertly directed by Jae Alexander. The orchestrations by Chris Walker accurately replicate the sound of the 1930s jazz score and is another element that adds to the authenticity of the whole. My only quibble with the orchestra is that in some of the more string-heavy sequences I thought I detected a synth which intruded upon the faithful sound of the orchestra.  Gareth Owen's sound design is encompassing and appropriately allows the tapping to become another instrument of the soundscape.

     Alan Burkitt and Charlotte Gooch are excellent in their roles and are a joy to watch. Their vocals also echo the sound produced by singers of the 1930s, a touch that lends credence to their performances which are consistently exciting and alive. Clive Hayward as "Horace Hardwick" and Rebecca Thornhill as his wife, "Madge", are also perfectly suited to their parts with Thornhill getting some wonderful lines which she plays for all they're worth! Amongst the funniest performances of the evening were those of John Conroy as trusted valet, "Bates" (who becomes a 'master' of disguise throughout the evening and who offers many familial quotes to live by along the way), and Sebastien Torkia as Italian designer, "Alberto Beddini", who almost steals the scenes he's in of act 2.

     There are a number of moments that the show can claim as highlights but, perhaps, the most quintessential is the musical number "Cheek to Cheek" (more commonly known as "Heaven") which is an utterly entrancing and beautiful sequence. A total joy to experience, "Top Hat" is a perfect example of a jubilant night out at the theatre and one could do far worse than see this happiness-inducing production.