Top Hat

I’m a sucker for tap dancing and the music of Irving Berlin.  So, I was totally in the hands (feet?) of the company, from overture to last note.  The plot is gossamer thin, a romance bedevilled by mistaken identity, but this show is about music and dance with a liberal sprinkling of humour.
 
A brave choice to perform, with much dancing, not only tap, all of which has to convincingly involve the audience.  West End are fortunate to have had director/choreographer Sandra Laidler plus Bethanie Johnson and James Forster as their principal dancers.  The audience happily travelled back to the 1930s, a world of Fred Astaire and Ginger Rogers.  “Heaven, I’m in heaven …” they sang, and we were.
 
The action moved briskly with engaging and impressive choreography.  The set had an authentic 1930s look but scene changes, between New York, London and Venice, took place behind a set of sliders which, unfortunately, didn’t slide smoothly.  Further, on this particular night, a very heavy-looking hansom cab refused to co-operate despite three stagehands trying to manoeuvre it.  Ah, the trials of show business!
 
More importantly, however, as leading man Jerry Travers, James Forster exhibits charm and a pleasing voice, proving himself very light on his feet.  His love interest, Dale Tremont, is played delightfully by Bethanie Johnson who is an accomplished singer and excellent dancer.  Seemingly effortless, stylish performances.  Dale’s friend, Madge, played by Helen Cash, has some of the most amusing dialogue, delivered delightfully.  Amusement, however, is firmly in the hands of her real-life husband, Jonathan Cash playing the ever-patient butler, Bates, in various disguises, creating some hilarious moments. Adding to the amusement are Andrew Fearon as Madge’s husband, Horace and, in particular, Charles Doherty, an Australian with a fine line in cod-Italian, as Beddini, who conspires to steal Dale from Jerry.  My favourite line, however, came from Dale in a case of life imitating art, or vice versa, saying dancing with Jerry was pretty straightforward, just doing the same as him, only backwards and in heels – an immortal line Ginger uttered when asked the same question about Fred!

The large ensemble cast captured well the feel of the 30s, with some delightful cameo performances from familiar faces, as well as all that well-drilled dancing.  Costumes and props spoke, eloquently, of a different, more elegant era.  Technical difficulties apart, a thoroughly enjoyable, nostalgic feast of song, dance and entertainment.

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