Top Hat
As soon as the cast graces the stage in the iconic opening number, “Puttin’ on the Ritz,” fans of Top Hat or any Golden Age musical know exactly what they’re in for. After a respectable run in the West End—one that earned the Olivier Award for Best Musical—this production arrives under the slick, sure-handed direction of Kathleen Marshall, who also helmed the hit London revivals of Crazy for You and Anything Goes.
Marshall’s direction is ravishing, providing the show with just the right balance of comic pace and earnest romance. Much like her previous productions, Top Hat revels in all the classic tropes: mistaken identities, warring (but loving) marriages, and even a comically over-the-top European antagonist (who brings to mind Tom Edden’s standout turn as Bela Zangler in Crazy for You).
Marshall is a master of the genre, and her choreography is up there with her best work. Special standouts are the title number, which brings a spectacular and unified closure to Act 1, and the cheekily endearing “Isn’t This a Lovely Day”. Across the board, the choreography is a joy to behold and sets a precedent for the evening’s high standard.
From a design perspective, the show is a delight—from its revolving Art Deco set designed by Peter Mckintosh which expertly allows for smooth transitions, to its dynamic and comforting lighting by Tim Mitchell. The show’s aesthetic fully embraces its Golden Age roots.
The performances are a joy to watch too. James Hume and West End legend Sally Ann Triplett provide excellent comic relief as the warring but ultimately love-stricken couple Horace and Madge Hardwick respectively. Both relish every comic line. I just wish that, with such a musical theatre veteran at their disposal, Triplett had more singing to showcase. We also have fine work from James Clyde as the disguise-wearing and conniving Bates, who strikes something of the Disney sidekick, and Alex Gibson-Giorgio, who brings Latin flair and grace to the role of Alberto Beddini.
However, the show rests on the shoulders of the central couple, Jerry and Dale. The romantic politics in Jerry’s pursuit of Dale—based on his own initial attraction and his persistence in winning her over—are inherently dated by today’s standards. But Phillip Attmore not only dances his way through the role with grace and ease, but also provides just the right amount of knowing cheekiness that you don’t think about this while the show is on.
Due to a last-minute cast change, Lindsay Atherton stepped in at the eleventh hour as Dale. After what must have been a trepidatious start, Atherton won the audience over. Dale more than provides Jerry’s match, and she excels in this with a performance full of grit and ownership of the stage. Particular standout moments include her seduction number “Wild About You,” where she revels in reversing the power dynamics of the relationship. Bravo.
Soon to be seen at the Southbank Centre following its current tour, Top Hat is sure to enchant audiences. While the second act goes on for too long and it isn’t quite as visually spectacular as Crazy for You, or as unified as Anything Goes. Marshalls production wins in its own right. I was smiling Cheek to Cheek
This show was reviewed on the 14th October 2025 at the New Wimbledon Theatre where it runs until the 18th October 2025. Tickets available here: Top Hat Tickets | New Wimbledon Theatre in Wimbledon | ATG Tickets
Review written by Alex Farley
AD/Gifted
Photo credit: Johan Persson
Check out other reviews from Curtain Call Reviews and get in touch to have our reviewers head to your show.