New Wimbledon Theatre- until Saturday 18th October 2025
Reviewed by Brooke Burlinge
4****
Irving Berlin’s Top Hat takes the stage with all the elegance, dazzle and wit of the 1930s golden age it celebrates. The show is a step into a more glamorous time- a world of sparkle, champagne elegance, screwball romance and the glint of a tap shoe in every possible direction. Adapted from the classic film, this stage version is bursting with charm, quips and enough sparkle for days.
The plot centres around Jerry Travers, (Phillip Attmore) an American Broadway star and an elegant fashion model, Dale Tremont (Lindsay Atherton) where a ludicrous case of mistaken identity wrapped up with romance unfurls right in front of our eyes. Both Phillip Attmore and Lindsay Atherton carried the performance effortlessly, especially considering that Lindsay Atherton was a cover for the character Dale Tremont. Attmore’s suave charisma and impressive dance technique with Atherton’s poise and quick-witted spirit creates a truly phenomenal partnership. Their chemistry is truly electric as shown in the dreamy, almost heavenly ballroom sequences, where their dance became a language of love. I must also mention Horace Hardwick (James Hume) and Madge Hardwick (Sally Ann Triplett) who’s relationship may appear to be strained and in a sense loving. This, however, is proven wrong towards the very end as they admit each other’s love for each other and display their infatuation. They really bring the whole comedy part of this production forward, making the audience laugh and enjoy the show even more than they would have before.
The production’s greatest triumph lies within its ability to balance nostalgia with vitality. Irvin Birling’s music remains beautiful, irresistible and perfectly fitting throughout, brought to life by a full orchestra and a cast that revels in the rhythms of Berlin’s genius work. The choreography, brimming with crisp, swift footwork and tapping pays a loving tribute to the classic film while also feeling fresh and of new personality.
Visually, Top Hat is stunning. The art deco design of the set glitters with sophistication, and the costume department certainly put the work in to provide the show with such gorgeous ballgowns and tuxedos. Every element works in harmony to transport the audience back in time.
At its heart, Top Hat is pure escapism, with a featherlight story. It doesn’t strive for emotional depth or reinvention; it’s simply a reminder of why we all love musical theatre. And in a world that can always use a little joy, that’s certainly more than enough