Top Hat

Trinity Players came up trumps with a tip-top and tap-tastic production of the stage version of the 1935 film Top Hat that impressed in many key respects. Top Hat is a glittering and feel-good romantic musical comedy that celebrates 1930’s song, style and romance, and is packed full of Irving Berlin’s  greatest hits including ‘Cheek to Cheek’, Top Hat’, Let’s Face the Music and Dance’, and ‘Putting on the Ritz’. The stage musical premiered in August 2011 in Milton Keynes and then toured the UK prior to the West End run in 2012.  It was adapted for the stage by Matthew White and Howard Jacques.

 Director and choreographer Leigh-Ann James kept the action moving with pace and the choreography (assisted by Natalie Haslam) was fun and inventive.  I cannot believe that this was Leigh-Ann’s first experience at directing a main production.  Her ideas really brought the show to life and she must be congratulated on this.  The set, though simple, had an authentic art deco look to it. I particularly liked the way some of the action was set on the stage, but the big dance numbers made use of the floor at Sutton Town Hall with some of the audience sitting at tables at the side.  Musical Director Peter Bushby expertly conducted an excellent band and they looked good positioned at the back of the stage. 

In the leading role of Jerry Travers, the man who took a Broadway show to the London stage, we enjoyed the performance, versatility and charm of Ed Mears.  Jerry Travers falls for Janine Henderson’s beautiful and accomplished Dale Tremont.  The two leads presented and effortless, stylish performance, both singing the score as gorgeously as they danced it. There was terrific comic value from Bob Atkins as Horace Hardwick, the English producer in the show and Olivia Geldard as his wife Madge.  Ray Lawrence supported convincingly as their ever-patient butler Bates, along with the fabulously funny Matthew Collins as Alberto Beddini. The ensemble captured the style and tone of the era with some good cameo performances featuring familiar and new faces to Trinity Players audiences.  It was also good to see so many good dancers in the show.

Congratulations to Pam Massey and the wardrobe team for an elegant and authentic range of costumes and Chris Howell for the lighting and sound.  Everything was so well balanced. Leigh-Ann clearly relished directing and arranging the choreography with Natalie.  The big dance numbers were well-drilled spectacles of coordinated movement that were every bit as impressive as those in the more familiar 42nd Street.

Well done to the cast, crew and production team.

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