First staged in 2011, the Chichester Festival Theatre’s adaptation of Top Hat lovingly resurrects the 1935 film that cemented Fred Astaire and Ginger Rogers as Hollywood’s most iconic dance partnership. Steeped in Art Deco glamour and buoyed by Irving Berlin’s indelible songs, the musical has always traded on its ability to transport audiences back to a world of mistaken identities, feathered gowns and tap-dancing romance. At its best, it’s an effervescent homage to the golden era of movie musicals- a celebration of all things cliché where elegance and exuberance collide. As the latest revival arrives at the Opera House Manchester, it carries both the legacy of that shimmering past and the challenge of reanimating it for modern audiences. 

The Chichester Festival Theatre’s touring production arrives with ample polish and a clear affection for its source material, yet it never quite finds a steady rhythm. The issue lies, ironically, in the very aspect of the production designed to streamline it: the staging. A handsome tiered set, elegant in its geometry, wraps around a slick revolve that whisks the audience through hotel lobbies, grand ballrooms and Venetian vistas with cinematic ease. Designed by Peter McKintosh, with visual and atmospheric support from Tim Mitchell and Paul Groothuis (Lighting Designer and Sound Designer, respectively), it’s, on paper, an ideal playground for a show so rooted in movement. But in practice, it proves a mixed blessing. 

Kathleen Marshall- doubling as director and choreographer- leans on the revolve as a narrative engine. Scene transitions glide by with visual confidence, yet this smoothness comes at a cost. The revolve, while undeniably stylish, constrains the choreography so tightly that many numbers never quite take flight. Ensemble dances, usually the sparkling backbone of the piece, feel hemmed in, as if the cast is continuously negotiating the limited space that they are left with and loses momentum as a result. It’s in these group sequences that the tension between staging and movement becomes most pronounced. Lines compress early, patterns fail to bloom, and the overall impression is one of potential energy rather than unleashed exuberance. Marshall’s assured choreography more than hints at a desire to expand into the fizz and flourish of the show’s cinematic roots, but it often remains politely contained. You sense there is much more gas in the tank; tap breaks begging for air, rhythms itching to accelerate- though they rarely get the chance to truly ignite. 

Still, Berlin’s evergreen score remains a buoyant joy. His melodies- romantic, witty and unmistakably nostalgic- carry the production through its knowingly predictable narrative with charm to spare, while the orchestra’s crisp delivery lends the show the warmth and glow that could be even more rousing on a larger scale. 

Among the cast, Amara Okereke brings a gentle radiance to Dale Tremont. Her performance is graceful and clear-voiced, grounding the romantic core of the story with sincerity, poise and tremendous wit. She navigates the show’s screwball misunderstandings with ease, giving the production a modern freshness without sacrificing its vintage sheen. But a true bolt of electricity arrives with Sally Ann Triplett as Madge Hardwick, who bursts into act two like a spark catching flame. Bombastic, grounded and irresistibly scene-stealing, she revitalises the production instantly. Triplett radiates charisma and confidence; whenever she’s onstage, the show suddenly feels freer, funnier, and closer to the dazzling world Top Hat aspires to be. 

Ultimately, this Top Hat glides with sophistication but never quite dances with abandon. It’s a stylish, often charming revival whose technical ingenuity both enhances and constrains it. This said, it’s an evening that entertains, even if it only occasionally captures the old-school magic it reaches for. 

Top Hat plays at Manchester’s Opera House until Saturday 29th November. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography courtesy of the production from the run at Chichester Festival Theatre in 2025.