Irving Berlin’s Top Hat returns to London this festive season in a revival that leans confidently into the pleasures of classic musical theatre. First released as a 1935 Hollywood film starring Fred Astaire and Ginger Rogers, the musical quickly became a defining work of its era, shaped by elegance, precision, and a belief in dance as storytelling. Nearly a century later, its appeal still rests on rhythm, timing, and a lightness of touch that refuses to feel dated.

The stage version, adapted by Matthew White and Howard Jacques, preserves the original structure while allowing the musical numbers to take centre stage. Directed and choreographed by Kathleen Marshall, this production trusts the material. Songs such as Cheek to Cheek, Puttin’ on the Ritz, and Let’s Face the Music and Dance arrive without irony or reinvention, relying instead on performance and musical clarity to carry them.

Phillip Attmore leads as Jerry Travers with confidence and physical authority. His tap work is sharp, controlled, and joyful, delivering the clearest sense of momentum across the evening. Attmore dances with ease and intention, making his musical sequences feel purposeful rather than decorative. Whenever he is in motion, the production gains focus and energy.

Opposite him, Amara Okereke’s Dale Tremont is grounded and emotionally clear. Her vocal work is expressive and measured, particularly in quieter moments where she resists overselling the material. While some of the choreography feels more effortful for her, especially when paired with Attmore’s athletic precision, Okereke brings sincerity and balance to the romantic arc. Her performance anchors the story when the staging begins to drift.

Supporting roles add depth and comic rhythm. Clive Carter brings controlled timing to Horace Hardwick, while Sally Ann Triplett’s Madge stands out for her instinctive delivery and ease with audience engagement. Triplett consistently draws laughter without pushing for effect. James Clyde’s Bates and Alex Gibson-Giorgio’s Beddini add character detail and contrast, rounding out an ensemble that understands the tone of the piece.

Visually, the production gestures toward 1930s glamour through costume and design, suggesting elegance rather than excess. Irving Berlin’s score continues to do much of the work, its melodies carrying scenes forward with minimal strain. Duets such as Let’s Face the Music and Dance offer moments of genuine connection, where the musical’s emotional core briefly comes into sharper focus.

The most persistent challenge lies in the choice of venue. Queen Elizabeth Hall is an impressive architectural space, though its scale works against the intimacy this musical depends on. Dialogue and physical comedy lose immediacy in the open auditorium, and moments built on timing or subtle interaction can feel distant. The staging often appears small against the hall’s vast interior, flattening moments that would benefit from proximity.

In a more contained theatre, the production’s pacing and charm would likely feel sharper and more responsive. Top Hat relies on closeness, on the audience feeling part of the misunderstandings and romantic turns. Here, that connection is present but diluted. This is not a shortcoming of the cast or creative team, but the venue inevitably shapes how the work lands.

Top Hat remains an enjoyable festive outing, driven by assured performances and an enduring score. Phillip Attmore’s dancing provides the clearest sense of lift, supported by a cast that understands the style and discipline the material demands. While the scale of the space holds the production at a slight distance, the musical’s warmth and craft still come through.

Credits & Cast
Music and lyrics by Irving Berlin. Stage adaptation by Matthew White and Howard Jacques. Directed and choreographed by Kathleen Marshall.
Cast: Phillip Attmore, Amara Okereke, Clive Carter, Sally Ann Triplett, James Clyde, Alex Gibson-Giorgio.

Top Hat is at the Queen Elizabeth Hall, Southbank Centre until 17 January 2026.

Tickets can be booked here