From the moment the curtain rises at the Théâtre du Châtelet, Top Hat transports audiences into a world of effervescent glamour, toe‑tapping rhythms, and timeless romance. Directed and choreographed by the masterful Kathleen Marshall (Tony Award‑winner for Wonderful Town in 2004, The Pajama Game in 2006, and Anything Goes in 2011 and currently directing and choreographing the new musical Sinatra, opening soon in London), this sparkling production — a love letter to the 1935 Hollywood musical Top Hat, starring Fred Astaire and Ginger Rogers — brims with Irving Berlin’s iconic songs from his extensive catalogue and a cast radiating star power, a perfect antidote for today’s grim realities.
This is actually the best version of Top Hat so far, as the first West End production, directed by Michael White, was somehow a bit too lacklustre to transfer to Broadway despite a respectable run and an Olivier for Best Musical. The Steven Mear–helmed and choreographed version at Kilworth House, starring Dan Burton, was already an improvement. But strangely, the best versions were actually on the Fringe or in smaller venues, namely at Upstairs at the Gatehouse and The Mill at Sonning, where it ran for two consecutive holiday seasons, probably because both venues made the right choice to camp it up even more.
The story (always a bit tiresome — but who cares!) follows Broadway star Jerry Travers (Phillip Attmore), whose exuberant tap dancing in a London hotel suite — where he’s arrived to perform in a new show produced by his friend Horace Hardwick (Clive Carter) — inadvertently disrupts the sleep of radiant model Dale Tremont (Nicole‑Lily Baisden). What begins as a comedic clash, sparked by mistaken identities and romantic misunderstandings, blossoms into a delightful love story as Dale mistakenly believes Jerry is married to her friend Madge Hardwick, played by the great Emma Williams, prompting her to flee to Venice, pursued by Jerry and complicated by the flamboyant Italian fashion designer Alberto Beddini (Alex Gibson‑Giorgio).
With the aid of Horace’s quick‑witted valet Bates (James Clyde), the lovers navigate a whirlwind of confusion to find their happily‑ever‑after. Faithful to the film, the feather‑light plot, rich with nostalgic charm, perfectly complements Berlin’s unforgettable melodies, including “No Strings”, “Cheek to Cheek”, “Top Hat, White Tie and Tails”, “Isn’t It a Lovely Day to Be Caught in the Rain”, “Let’s Face the Music and Dance”, “Let Yourself Go”, and “I’m Putting All My Eggs in One Basket” from the Astaire/Rogers movie Follow the Fleet.
Marshall’s spellbinding direction weaves seamless transitions between uproarious comedy and breathtaking dance sequences, transforming the Châtelet stage into a dazzling showcase of tap, ballroom, and ensemble numbers pulsing with energy. Peter McKintosh’s lavish sets evoke the opulent Art Deco glamour of 1930s London and Venice in the Act II opener “The Piccolino”, while Tim Mitchell’s dreamy lighting enhances the romantic allure, and the spectacular costumes by Yvonne Milnes and McKintosh capture Hollywood’s Golden Age with shimmering gowns and tailored tuxedos.
The cast is led by Attmore’s charismatic Jerry Travers, whose electrifying tap dancing — a testament to his Fred and Adele Astaire Award‑winning prowess — combines with boyish charm and vocal finesse to make him a potent leading man, even if his self‑confidence becomes irritating at times.
Baisden, who already shone as Peggy Sawyer in 42nd Street at Leicester Curve and Sadler’s Wells and as Hope Harcourt in Anything Goes at the Barbican, is a revelation as Dale Tremont, infusing every scene with grace and fire through her luminous presence and velvety vocals; her chemistry with Attmore in numbers like “Cheek to Cheek” evokes the effortless elegance of Astaire and Rogers while carving out a unique spark.
Williams (Love Story and Mrs. Henderson Presents) is a pure joy as Madge, delivering sharp comedic timing with appealing warmth, blending seamlessly with Carter’s pun‑laden Horace, whose bumbling delivery elicits roars of laughter. Too bad she only appears in Act II and only sings a small duet, “Outside of That, I Love You”.
Gibson‑Giorgio’s riotous Alberto Beddini steals scenes with exaggerated bravado, particularly in his energetic Act II solo “Latins Know How” from Berlin’s Louisiana Purchase, while Clyde’s slyly humorous Bates ties the ensemble together beautifully.
The production’s technical brilliance, with Irving Berlin’s immortal music — orchestrated with lush precision by Chris Walker — feels as fresh today as in 1935. From the exuberant “Puttin’ On the Ritz” to the tender “Isn’t This a Lovely Day”, the music sweeps audiences into a world where love and dance conquer all, performed by a powerhouse ensemble of triple‑threat performers who execute Marshall’s choreography with jaw‑dropping precision and infectious energy.
However, the whole enterprise has always felt a somewhat mechanical and lacking a little bit in emotion. There is also some imbalance between Act I, with all its big dance numbers, and Act II, which leans more toward comedy.
But even without the fast‑paced brilliance of Crazy for You or Anything Goes and the stronger narrative of 42nd Street, Top Hat is an elegant escape, celebrating the enduring magic of Hollywood‑to‑stage productions. For French audiences, it is a fitting occasion to celebrate Fred Astaire — just as Châtelet once celebrated Gene Kelly in An American in Paris and Singin’ in the Rain.
Just a slight correction of some marketing in Paris: the stage version of Top Hat has never reached Broadway, nor touched American soil at all for that matter. Tommy Tune tackled the idea some decades ago, and there was great hope, but unfortunately there’s something missing in that show for it to be ready for Broadway. Still, you can catch it in Paris until May 3rd.
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