Irving Berlin’s classical romantic spectacle ‘Top Hat’ slides its away across Sheffield Theatres’ stages with pomp and playfulness, marking a highly respectable and enjoyable musical instalment to the current season of live entertainment in the heart of the city.
Matthew White & Howard Jacques author the piece, based on the 1935 film of the same name starring icons Fred Astaire and Ginger Roberts. Their script is almost a clean emulation of the original work, the plot unchanged bar some superficial rearrangements, with even many of the lines mirrored. This is both admirable and unavoidably slightly kitsch. It is inescapably of its time which lends itself to nostalgic and historic appreciation, but in 2026 it draws few parallels to our days. The show functions as glitzy escapism, which is arguably its function of the day it was born into, and this fact makes it sustainable and ultimately enjoyable despite the clash of its threads.
A core piece of functionality to the work is undoubtedly its performer’s ability to dazzle and put on a show, and that they do. Phillip Attmore is a remarkable Jerry Travers – an excellent performer in almost all aspects, but a remarkably distinguishable dancer more-so. Whilst their acting performance is ever so slightly too knowledgable of its own theatricality, he still plays with great fun and is a deservedly winning protagonist for his audiences. With Amara Okereke unavailable for tonight’s performance, Lindsay Atherton stepped into Ginger Roger’s shoes, or rather Dale Tremont’s, with great aplomb. An equally exquisite dancer and delightfully rounded actress, she evokes the joyful humour, feudal spikiness and earnest romance of the piece with confident, assured strokes.
The show is almost stolen, however, by the ferociously welcome performance of James Hume as Horace Hardwick, who is adeptly supported in the comedic realm by Alex Gibson-Giorgio as Alberto Beddini and James Clyde as Hardwick’s faithful Bates. Hume has electric precision and phenomenal comedic timing. He is a caricature so knowable and authentic it evokes the most authentic of responses from us.
In truth, these are a series of collectively endearing performances from all involved. Kirsty Sparks is called upon for tonight’s performance also, and her portrayal of Madge is full of sweet danger and great, cynical wit.
The set design, whilst emblematic of the golden age of Hollywood, is simultaneously oddly oppressive in the first act without intent. Its gold and bronze hues sit deep in dark shades of a rounded archway, periodically springing to life. It’s an oddly alienating and cold setup, even if it is accurate and of its era. The rotating middle platform does create visual spectacle and set designer Peter McKintosh is worthy of praise for this. Also, the beautifully colourful and layered Venice of Act Two is commendable, which pleasantly achieves the opposite effect of New York’s chrome desolation in Act One.
Director and choreographer Kathleen Marshall work is good. Dances with intimate numbers and ensemble set pieces are met with equal attention to detail and execution. The direction is well-understood with a brief but crucial exception. It ought to be mentioned the piece does begin confused. Whilst you may be right to wonder why is this play here and why now, it appears the show also asks this of itself. It starts uncertain, a strange didactic introduction to the piece before an overture played as we witness the opening curtain, static. Then, showtime – but we are not awarded immediate relief as an audience. We cannot tell if this piece is demanding respect and attention, and if its glamorous presentation is prone to affront and seeking reserved admiration. When humour does arrive, we are uncertain, and gags go ungiggled at. Fortunately, the second act salvages this with a remarkable confidence in tone, and the piece distinctly becomes in equal measure showbiz showcase and calamitous comedy. The inherent pretentiousness of the world and the text are impenetrable as we enter, and only once the curtain is unravelled deep into the show do we truly relax and appreciate the playful entertainment of Berlin’s chipper work.
Top Hat is everything it says on the tin. Consider this an invitation to put on your top hat, tie up your white tie and dance in your tails. If that’s your scene, brass sections and strings your vibe, you’ll find what you expect in this shimmering, well-tempered, traditionally-showbiz work.
Top Hat plays at The Lyceum until 24th January, https://www.sheffieldtheatres.co.uk/
Reviewer: Louis Thompson
Reviewed: 20th January 2026
North West End UK Rating: