Top Hat Review by Nina-Jervis Green

February 25, 2026

Thanks to Nina Jervis-Green from www.ninathewriter.com for this review.

Top Hat comes with a lot of grand descriptions. It’s a “heady romantic cocktail”, “the musical equivalent of the finest vintage champagne… sparkling, joyous, blissfully effervescent.” The stage adaptation’s West End premiere also won the 2013 Olivier Award for Best New Musical, so you’d think you’d be in for a glistening treat.

For me, however, the champagne felt a little bit flat. While this is an impeccably stylish musical performed by an extremely talented cast, it was missing the gilded magic I’d been hoping for.

The story is taken from the classic 1935 film, which starred the old Hollywood dream team of Fred Astaire and Ginger Rogers. Back then, you’d have gone to see the film because of its stars and songs rather than the story, which is gossamer-thin.

American dancer Jerry Travers (Phillip Attmore, whose spins are incredible!) travels to London to star in a show produced by the witty, bumbling Horace Hardwick (James Hume). As Jerry practices his tap routine in his swanky hotel bedroom, he wakes up the guest on the floor below; a fashion model called Dale Tremont (Amara Okereke).

Dale storms upstairs to complain, and for Jerry it’s love at first sight. But Dale thinks he’s Horace, who is married to her friend Madge (Emma Williams). She’s about to meet Madge in Venice, while showcasing lavish gowns created by Alberto Beddini (Alex Gibson-Giorgio); a highly-strung Italian fashion designer with a weakness for malapropisms.

What follows is a series of ‘will-they-won’t-they’ shenanigans and peppy one-liners that ultimately lead everyone to Venice… but will Jerry and Dale live happily ever after?

Performed by a live orchestra, the music is note-perfect. There’s a roll-call of iconic Irving Berlin songs to savour, including Top Hat, White Tie and Tails, Cheek to Cheek, and Puttin’ On the Ritz. The costumes are suitably extravagant, singing- voices are silky-smooth (Okereke’s in particular), and dance routines are gleefully mesmerising throughout. Director and choreographer Kathleen Marshall has cleverly allowed these talented performers to improvise within her routines; something they clearly relish.

And of course, the set is both elegant and beautiful. A gorgeous Art Deco-style half- clockface showcases the iconic skylines of London and Venice, while its versatile rotating centre brings immaculate backdrops, ranging from breezy al fresco cafés to opulent hotel rooms.

Yet at over two hours long, I expected more substance, more charm, more razzle- dazzle. For a show like this to really work, you need magical chemistry between its two stars: something Fred and Ginger famously had in spades, but was sadly lacking on stage. Scenes and dialogue are very much of their time (with a few zingers from jaded marrieds Horace and Madge), which will probably evoke eye-rolls or swoons depending on when you were born.

While this “heady romantic cocktail” wasn’t to my taste (I prefer a spicy margarita), the majority of the audience adored Top Hat – at least judging by the audible guffaws and coos of delight emanating from the surrounding seats. Without doubt it’s a visually spectacular show, best suited to those in mourning for Hollywood’s golden age. That isn’t me, but if it’s you, you could be in for a sparkling evening.