Top Hat

I was more than delighted to cover for my colleague, Terry Harrison for this HOPS production of 'Top Hat' - it was hard not to know it was happening, thanks to a brilliant publicity campaign by Melanie James (HOPS Marketing & Press Officer)!

'Top Hat' is a really 'feel-good' musical - based on the 30's MGM film of the same name starring Ginger Rogers and Fred Astaire - it has a typical MGM story - boy meets girl, girl hates boy and after much confusion, it all ends happily ever after - but add to the mix lots of dancing and tapping - you have a sure fire winner in every respect!

The Director/Choreographer, Michael Kirkby, has once again pulled off a magnificent production - he has tapped-danced where others have feared to tread, moving his company seamlessly from one scene to another - and may I say, under the most difficult conditions. The beautiful, huge, art-deco set looks fantastic, but I can tell the Technical rehearsal must have been a nightmeare - and very long!

Casting all that aside, Michael had drawn around him a youthful but talented group of principals and ensemble. The two leads, Stuart Hutchinson as 'Jerry Travers' and Jennifer Hirst as 'Dale Tremont', perfectly captured the spirit of the Astaire/Rogers partnership with elegance and perfect dance skills. They were joined by an impressive line-up of experienced actors - Gavin Mills as 'Horace Hardwick', the nervous, flirtatious producer - Natalie Page as his long-suffering wife, 'Madge' - these two had some witty repartee to deliver, with assured comedy timing. Dan Stanford played to the full 'Alberto Beddini', the flamboyant Italian dress designer, with Clive Kirkham as 'Bates', Horace's reluctant valet. 'Bates' has the best comedy lines in the whole show, Clive's delivery very reminisent of the late actor, Kenneth Williams. These principals were very well supported by a talented ensemble - all playing their different roles to the full. I understand that the cast had been attending dance classes all through last autumn in ballroom and tap dancing - this really paid off and shows the dedication the cast put to this venture, especially in the climatic first act closer of 'Top Hat, White tie and Tails'. They were supported throughout by Jo Harrison as Dance Captain, who also did an exccellent job.

The Musical Director, the excellent, tail suited, Craig Ratcliffe, kept the tempo zipping along and was very sensitive to his cast - he directed an excellent orchestra, who interpreted the score so well - it is lovely to hear many well-loved tunes played so well.

The cast were well served by a first rate backstage crew - the Stage Director, Liz Lancaster, had assembled an efficient team - costumes, props, hair & wigs and lighting were all first-rate. I did have two tiny criticisms - the sound operator seemed to miss quite a few cast entrances, their dialogue only picked up after first line delivery - this, I am sure, will have improved over subsequent nights. Also, I would like to see the stage crew in costume (black trousers, white shirts and waistcoats would surffice) - they could be seen quite clearly in what might have been judged a black-out and their modern appearance spoilt the overall look. I'm sorry if this seems 'nit-picking' but it is an important detail I feel.

HOPS should feel very proud to tackle this huge musical - as with all stage musicals taken from films, so many different scenes are involved but these were overcome by the cast remaining focussed all the time. To mount this show with just one technical and one dress rehearsal is mind-boggling - and all through a heat wave - fantastic!  There was no 'trouble' ahead at the Royal Hall - just plenty of 'Putting on the Ritz'!

My sincere congratulations to everybody!  

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