Top Hat - UK Tour

Direction by Kathleen Marshall was clear, confident, and consistent. Even in the more chaotic scenes, nothing felt forced — she kept a steady hand on the reins, which is exactly what a sparkling show like this needs.

Choreography by Kathleen Marshall matched that same clarity and energy — slick, lively, and always in support of the narrative.

The set by Peter McKintosh was a visual delight. The rotating art-deco platform at the back of the stage was especially smart: it allowed scenes to shift dynamically without excessive pauses. The multi-level staging worked beautifully too — characters could bustle, retreat, or tower above one another, which gave the production real depth. The design invoked the glamour of the 1930s in a way that felt both nostalgic and fresh.

Video elements (projections, backdrop motion etc.) integrated seamlessly with that set — they didn’t steal the spotlight, but they enriched the world.

Lighting by Tim Mitchell shared that same synergy with set and video — dramatic when needed, subtle elsewhere, and always enhancing the visual storytelling.

Sound by Paul Groothuis began a little softly in the first couple of songs, but soon found a balance that worked for most of the show. There was a hiccup in the final number when some microphones misbehaved, but in live theatre, these things happen — the cast handled it with grace.

Costumes by Yvonne Milnes & Peter McKintosh were lovely and period-appropriate. There was full-on glitz and glamour when the moment called for it, and more subtle, grounded looks in quieter scenes. It’s the attention to detail that made them shine.

The book by Matthew White & Howard Jacques was fun overall, but I did find the arc for Dale's feelings toward Jerry somewhat jarring — going from dislike to being madly in love in just one song felt abrupt. But besides that, the script has wit, charm, and a lot of heart.

Music & lyrics by Irving Berlin remain the backbone of this show. The songs we all know and love are here, in ways that feel earned — they mostly drive the plot or at least underscore emotional beats.

Phillip Attmore as Jerry gave a solid portrayal. Some songs could have been more fully realized vocally, but his dancing was exceptional and really lit up the stage. Amara Okereke as Dale was brilliant — the rare moments she danced were a joy to watch, and her singing was beautifully controlled. Sally Ann Triplett as Madge held attention from start to finish; she was sharp, funny, and fully present. James Clyde as Bates and Alex Gibson-Giorgio as Alberto were scene-stealers. Their comic timing was superb, and they delivered characterizations that were both funny and rich. They were easily the highlight of the night in terms of sheer entertainment.

This Top Hat tour is a delight — polished in many places, with occasional rough edges in the book and vocal consistency. But it’s a gorgeous spectacle with heart, and I left the theatre tapping my toes and smiling.