Review – Top Hat the Musical – The Congress Theatre, Eastbourne

Top Hat the Musical arrives in Eastbourne like a gust of warm, champagne-fizzed air, bringing with it the kind of polished, feel-good entertainment that seems increasingly rare. Adapted from the beloved 1935 film starring Fred Astaire and Ginger Rogers, this stage musical leans wholeheartedly into elegance, escapism, and old-fashioned theatrical charm — and for the most part, it succeeds beautifully.

From the outset, the production establishes a glossy Art Deco world of high society hotels, breezy romance, and transatlantic glamour. The set design is both clever and fluid, using rotating panels, and luminous backdrops to whisk the audience from London to Venice without breaking the rhythm of the show. It feels lavish without ever becoming cluttered, allowing the performers — and especially the dancing — to remain front and centre.

And what dancing it is. Kathleen Marshall’s choreography is the show’s beating heart, evoking the precision and lightness of classic Hollywood tap while adding enough contemporary staging to feel incredibly fresh. Large ensemble numbers shimmer with synchronised footwork. The sound of dozens of taps landing in perfect unison is deeply satisfying in a live theatre, and the Congress Theatre’s acoustics capture it crisply.

The leading pair carry the production with considerable charm. Philip Attmore plays Jerry Travers — the suave American entertainer whose case of mistaken identity drives the plot — and exudes easy confidence, gliding across the stage with the relaxed athleticism the role demands. His singing is smooth and assured, but it’s his dancing that truly convinces; he moves as though gravity has only a polite hold on him. Opposite him, Dale Tremont is portrayed by Amara Okereke with poise and spirit, avoiding the trap of becoming merely decorative. She brings warmth and intelligence to the role, making Dale’s stubborn independence feel endearing rather than exasperating.

Supporting characters provide much of the comedy, and here the production wisely embraces a slightly heightened, almost farcical tone. Madge Hardwick, the long-suffering wife (Emma Williams), Horace Hardwick, the blustering husband (James Hume), Bates, the faithful flunkey (James Clyde) and the flamboyant Italian fashion designer Alberto Beddini (Alex Gibson-Giorgio), all deliver strong comic timing without tipping into pantomime. The humour feels gentle and inclusive, eliciting warm laughter rather than sharp guffaws — exactly right for a show that prioritises charm over satire.

Musically, the orchestra does full justice to Irving Berlin’s score. Familiar songs arrive like old friends, but the arrangements keep them lively rather than reverential. There’s a buoyancy throughout the evening that prevents any sense of nostalgia from becoming sluggish. Even quieter numbers maintain forward momentum, ensuring the show never drifts.

Costumes deserve special mention. This is a parade of tuxedos, flowing gowns, and shimmering fabrics that sparkle under the lights. Quick changes happen with impressive speed, and each new outfit reinforces the fantasy of wealth and sophistication that defines the piece. It’s visual comfort food of the highest order.

If the show has a weakness, it lies in the plot itself, which is unapologetically thin and dependent on misunderstandings that would collapse instantly in real life. Yet criticising Top Hat for this feels beside the point. The story functions primarily as a framework on which to hang music, dance, and spectacle — and judged on those terms, the production delivers generously.

Top Hat the Musical may not aim to challenge or provoke, but it accomplishes something just as valuable: it reminds us how delightful theatre can be when it simply sets out to entertain — and this production does so with wit and style.

****    Four Stars