Directed and Choreographed by Kathleen Marshall

Music and Lyrics by Irving Berlin

Adapted for Stage by  Matthew White & Howard Jacques

Review by Dominic Corr

Edinburgh Playhouse: Tickets

There’s no denying the enduring allure of Irving Berlin’s Top Hat. With its Art Deco sheen, mistaken identities, and a score that includes “Cheek to Cheek” and “Puttin’ on the Ritz,” the production arrives in Edinburgh with all the trappings of a golden-age musical. This new staging, directed and choreographed by Kathleen Marshall, leans heavily into nostalgia, offering a frothy cocktail of romance and comedy. Yet for all its elegance, the production doesn’t quite glide as smoothly as its leading man’s tap shoes.

Phillip Attmore, making his UK debut as Jerry Travers, is a dancer of extraordinary finesse. His footwork is crisp, his timing sharp, and his charisma undeniable. Whether bounding across the stage in “Top Hat, White Tie and Tails” or wooing his leading lady with effortless charm, Attmore’s physicality anchors the production. Opposite him, Amara Okereke as Dale Tremont is every inch the glamorous society model, her movement fluid and poised. Together, they conjure the kind of old-Hollywood chemistry that makes the romance believable, even when the plot’s mistaken identities stretch credibility.

But while their dancing dazzles, vocally, Attmore falters in comparison to their co-stars. Okereke’s soprano, sweet, finds a power to fully lift Berlin’s melodies, but Attmore’s vocals, though serviceable, don’t soar with the same confidence as his dancing. It’s in the supporting cast that the production finds its vocal strength. James Hume, as the hapless producer Horace Hardwick, brings a resonant baritone and a comic timing that keeps the energy buoyant. Sally Ann Triplett, as his formidable wife Madge, relishes every line, her voice cutting through with authority and wit. Alex Gibson-Giorgio, meanwhile, makes a flamboyant delight of Alberto Beddini, his comedic flourishes and vocal assurance stealing more than one scene.

The choreography is smart, often witty in its staging, but not always in perfect unison. Ensemble numbers brim with energy, yet there are moments where the synchronisation falters, leaving the sheen slightly dulled. Still, the sheer ambition of the dance sequences, particularly the sweeping ballroom moments, reminds us why Top Hat remains such a beloved vehicle for movement. It’s put to good use with the set which, with it’s core or a revolving half-circle to shift from boudoir to dinner-hall, it’s a serviceable set which is used more for a canvas of colour in the shows lighting and shadow use.

What truly keeps the evening afloat is the comedy threaded through the side plots. James Clyde’s Bates, the valet with a knack for disguise, provides much-needed levity, and the interplay between the Hardwicks adds a playful counterpoint to the central romance. These moments of humour are vital, ensuring the production never tips into self-seriousness.

For all its imperfections, Top Hat remains a classic that shines through the cracks. The story’s timeless charm, the glamour of the costumes, and the sheer joy of watching dancers lose themselves in Berlin’s rhythms make it a worthwhile evening. Yet one can’t help but wish the vocals matched the sparkle of the choreography, or that the ensemble’s timing was as sharp as the tailoring.

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