"Top Hat" not so top for me
Top Hat - Aldwych Theatre, London, 23rd April 2012
It all could have been so great. Could be...
The musical, based on the popular 1935 film starring Fred Astaire and Ginger Rogers (though I must say I am not really familiar with it, I saw it before though it clearly did not impress me too much that I cannot really remember much of it but of course some of the famous musical numbers) telling the story of an American dancer called Jerry Travers, who comes to London to star in a show produced by Horace Hardwick.
In the London hotel where he is staying he meets and tries to impress Dale Tremont to win her affection but Dale mistakes him for Horace, who is accidently the husband of her friend Madge.
She then goes to Venice to actually visit that friend and to model/promote the gowns created by Alberto Beddini a dandified Italian fashion designer.
In the London hotel where he is staying he meets and tries to impress Dale Tremont to win her affection but Dale mistakes him for Horace, who is accidently the husband of her friend Madge.
She then goes to Venice to actually visit that friend and to model/promote the gowns created by Alberto Beddini a dandified Italian fashion designer.
Horace and Jerry follow and after some more twists there cannot be anything else but a happy end - or not? ;-)
It is actually a surprise to me that this movie was not turned into a musical before. I wonder why it took so many years being a huge success and with dozens of musical movies turned into stage musicals over the last decades I had expected it a lot earlier. Or shall there be another reason but the rights availability that it was not done before? Well... I can actually think of a few just after questioning that.
Opening the show with the great number "Puttin' On the Ritz" (interesting to hear it as it is actually originally from a different movie, well been in several since) which is Jerry Travers' final performance in New York before going to London nearly all looked rather impressive: largely fantastic choreography, great dancing, talented cast though from the first moment the stage felt rather crowded.
Opening the show with the great number "Puttin' On the Ritz" (interesting to hear it as it is actually originally from a different movie, well been in several since) which is Jerry Travers' final performance in New York before going to London nearly all looked rather impressive: largely fantastic choreography, great dancing, talented cast though from the first moment the stage felt rather crowded.
Sitting in the second row bang in the middle which was a bit close though (unfortunately only decent ticket left when booked, no way I'd sit in row S or further back and paying top price) I could see the whole stage with it being rather low and it was a good view but with the stage actually narrow and around 20 people onstage everyone seemed to have rather little space.
I also did not like the positioning of the people as it looked so asymmetric due to height differences but then I might just be nitpicking, well there were bigger issues than this.
I also did not like the positioning of the people as it looked so asymmetric due to height differences but then I might just be nitpicking, well there were bigger issues than this.
Mentioning issues: the major issue of the show for me was clear from the beginning though - it was the casting of Tom Chambers as Jerry Travers.
I had not been familiar with him before, apparently he was on telly, but for me he was a new face.
Technically dancing wise he was definitely great he tough totally lacked personality, charm and charisma for me, his smile felt soooo fake, there was no change to the rest of the face, no little wrinkles around his eyes as when a person sincerly smiles, no spark, nothing, nichts, nada, niente. Just this artificial smile.
His singing also sounded poor and weak, his American accent was often all over the place, even in just one sentence it sounded one moment as if he was from the East coast, in the next scene he sounded being from the Midwest. Ouch, just no male lead material for me.
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| Tom Chambers as Jerry Travers - argh, fakeness! |
I had not been familiar with him before, apparently he was on telly, but for me he was a new face.
Technically dancing wise he was definitely great he tough totally lacked personality, charm and charisma for me, his smile felt soooo fake, there was no change to the rest of the face, no little wrinkles around his eyes as when a person sincerly smiles, no spark, nothing, nichts, nada, niente. Just this artificial smile.
His singing also sounded poor and weak, his American accent was often all over the place, even in just one sentence it sounded one moment as if he was from the East coast, in the next scene he sounded being from the Midwest. Ouch, just no male lead material for me.
I was not impressed and looking back just over a week later am even less impressed having seen the stunning "Singin' In The Rain" the following day (post to follow for that).
The chemistry with Summer Strallen at his side as the beautiful Dale was also so bad, it was like "trying too hard".
I enjoyed Summer's performance who is a stunning young lady but I just cannot warm to her performance, never have as she comes across rather cold, unlike to her amazing sister Scarlett whom I totally adore.
It also seemed too unreal, too unfelt. Maybe it was just me but I was so untouched by her performance while I still could enjoy it (hope that makes sense). Saying that having read reviews from the tour and from the still short West End run since (it actually just opens officially next week) there are people who liked Tom and Summer.
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| Summer Strallen and Ricardo Afonso |
It also seemed too unreal, too unfelt. Maybe it was just me but I was so untouched by her performance while I still could enjoy it (hope that makes sense). Saying that having read reviews from the tour and from the still short West End run since (it actually just opens officially next week) there are people who liked Tom and Summer.
Who were incredible though for me were the support cast as Martin Ball as Horace, Vivien Parry as Madge and Ricardo Afonso as Alberto Beddini.
Especially Ricardo steals the show whenever he is on stage - he just simply owns the stage as the eccentric dandy like Italian fashion designer (he could have easily been gay). He has just the right appeal for the part. It is exciting how he manages to play the part being the so hyped up Italian but never going OTT to get annoying which easily could have happened. He definitely deserved getting the biggest applause at curtain call.
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| Martin Ball |
Martin Ball as the "skirt chaser" Horace is just magnificent being so funny and comical but still making the role so believable and with Vivien Parry (actually both are two of my favourite Mamma Mia cast back a few years, so to see the two back on the same stage was wonderful anyway) at his side he found the perfect match. Vivien as the smart, sophisticated, sometimes wise-cracking Madge is a true delight and her and Martin's duet "Outside of That, I Love You" (not originally from the movie) in act 2 was a personal highlight. These three plus Stephen Boswell as the butler Bates who has some of the most hilarious lines/scenes with Martin totally outact the two leads making up for them that it gave some pleasure.
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| Vivien Parry |
The set of the show, well, was satisfying, some ideas as when Horace and Jerry are on a plane to Italy or when Jerry replaces the driver to bring Dale to the horses were, well.... crap with most of the stage closed by walls and just small parts opening for the scenes (and do not get me started on why the background does not change during the carriage scene). What really drove me insane though were the actual scene changes as whenever there was a change the stage would actually be covered with usually some cast members often standing close to the stage edge continuing the story while behind the walls the scene was changed which often I could hear (but then I sat in the second row, most probably better when sitting further away).
I am aware of the small stage etc. but having seen the sets of Singin' In The Rain and Sweeney Todd the days after I think this could have done differently with less fuss about having a big-gish set. Lighting was also occasionally off for me. Interesting especially when in Italy to have the sun shine from various directions - or shall we have more than one sun?? WOW!
Most of the costumes looked stunning and matched the period well. Just Summer's feather-y dress in act 2 was too long for me as I could not see her dancing techniques. Please please please shorten it!
Orchestration sounded great with the right drive of the time, never too loud being well balanced even so close.
Besides the male lead my major issue though is the actual book and direction.
The first act with a running time of just an hour is fine. It is usually told quickly, the numbers are well linked with the dialogues finishing off with "Top Hat, White Tie and Tails" as that is to be a number from the show Jerry is doing in London BUT act 2 is with 1 hour and 20 minutes a draaaaaaaaaaaag.
Since I saw a preview I can only hope they cut at least another 15 minutes. The whole story just goes around in circles, nothing new is added and there is not a big number anymore to break up the drag (not counting Madge's and Horace's duet as I mean by big another ensemble number). Yes it has the opening number which is while well danced a bit of a joke for me as the protagonists are in Venice I get a mix of flamenco and tango dance styles presented.
I even looked up when back at the hotel after the show when the tango was becoming famous in Europe and while it could have been danced back then it still did not work for me and I do not count that as one. Choreography besides that nevertheless looked great but as mentioned above with the small stage it all looked too often crowded. I wished they'd take away 2/3 people in scenes when (nearly) the whole cast is onstage.
Well overall it was nice to see it though I am not sure I will return too soon or if I do I will when I know Tom Chambers is off - his understudy stood out already in the ensemble numbers that I would love to see him in the lead part.
