You always know you’re in safe hands with a production originally forged at the Chichester Festival Theatre and I am beyond trilled to report that Top Hat is another phenomenal production. Based on the 1935 film, this production could feel ‘old hat’ rather than ‘Top Hat,’ but with a pacey storyline, a hugely gifted cast and ensemble, slick dance routines and slapstick that the Palladium Panto would be jealous of, the latest iteration of this classic musical tap danced straight into my heart and refused to budge.

The opening number of Putting on the Ritz really showed off the ensemble’s tight, energetic dancing prowess, and this remains throughout the entire performance. The tap dancing especially, had me spellbound; there’s nothing quite like a perfect line of tap dancers tapping in precise unison! The ensemble singing is also gorgeous, bringing the classic tunes to life and breathing fresh life into them.

The main drive behind this fantastic production, however, is the lead cast, and what a cast they are. Alex Gibson-Giorgio as Alberto Beddini is a joyous, riot of a character; his rendition of Latins Know How had the audience howling with laughter. His characterisation of the hapless Italian was endearing, hilarious and he delivered some of the wittiest puns of the show with excellent comic chops and timing. In an equally hilarious portrayal, James Clyde as Bates is a sight to behold. This was a masterclass in comedy, his costume changes, his accents, his ability to hold the audience in the palm of his hand…simply wonderful.

Only appearing in Act Two might mean that a character leaves less of an impact on an audience, but this is not the case with Sally Ann Triplett’s portrayal of Madge Hardwick. She has some of the best one liners in the show, delivered with devastating, and hilarious precision and poise. She only needed to glance towards the audience to have us burst into laughter. She commanded the stage and was truly the matriarch of the Top Hat world. She is teamed with James Hume as poor, long suffering, Horace Hardwick. Horace seems to end up with the worst end of the stick every time and Hume gives us a performance which is so endearing but also full of comic genius. His hiding in the bridal suite during Wild About You and his incident with the steak on his black eye were exceptionally executed, proving slapstick, when executed well, still has a place in modern theatres.

Finally, Amara Okereke and Phillip Attmore bring Dale Tremont and Jerry Travers to life, respectively. Amara shows us a Dale who is fierce, strong, independent, yet childlike and eager in her discovery of love with Jerry. Her dancing is stunning, her voice like velvet. She holds her own against the love protestations of both Jerry and Alberto and brings a fresh side to a character who pirouetted across the silver screen in 1935. I particularly enjoyed her heartfelt, stunningly sung rendition of Better Luck Next Time.

Phillip Attmore brings a zest and charm to Jerry Travers which is truly joyous to behold. His dancing is so clean and precise, and he captures the essence of the original Jerry, Fred Astaire, whilst bringing his own evident charm and qualities to the role. He leans into the classic film but never makes you feel that he is plagiarising the original, he brings a voice, performance and dancing which is all his own. Whether in tap shoes or not, he is a joy to watch.

This is a slick, well designed production which doesn’t stop for even a moment and, as such, makes it a truly captivating watch. It’s revival productions like this with beautiful set, gorgeous costuming and an ensemble and cast to die for that prove that, even almost 100 years later, musicals like Top Hat still have a very well deserved place in our theatres and in our hearts.