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Top Hat
Yeovil Amateur Operatic Society
The Octagon Theatre
Yeovil
Thursday 15th March 2018
Cashing in on a perceived ‘Nostalgia Market’ for musical revivals in 2011, Matthew White and Howard Jacques adapted the original RKO Fred Astaire star-vehicle hit movie Top Hat from 1935 to produce a stage show. The result was surprisingly successful from a commercial point of view however, from my jaundiced eye I remain unconvinced of its quality as a piece of musical theatre. For fans of Irving Berlin’s music it stands as a pleasant ‘juke-box’ of his work but as a piece of theatre it is very thin indeed. The book verges on the silly. It has a story based around one conceit: that fashion model Dale Tremont has the mistaken apprehension that superstar song-and-dance man Jerry Travers who is wooing her with enthusiasm, is married to her best friend Madge Hardwick. To drag this out over an entire, full length show is something of a challenge. Added to this, the extraordinarily large number of scenes, which are easily achieved in a film, translate to a rather clunky stage presentation and the dialogue, staying true to the era of the original film is full of clichés about wives, camp designers and OTT ‘foreigners’. YAOS and seasoned Director Brian Epps would have their work cut out to make this one ‘fly’.
Whilst I am not a particular fan of Berlin’s songs, I can certainly recognise their quality and well-earned longevity and when delivered with skill and conviction, combined with sparkling costume and energetic dance routines I can also understand the attraction to the half-full auditorium of more ‘mature’ customers who showed their full appreciation of YAOS’ production.
A large, well-rehearsed chorus danced with impressive energy and synchronisation. Sharp tap dancing of this quality reflects many very hard hours of rehearsal under respected Choreographer Sheila Driver. The nature of the genre tends to make chorus routines a little ‘samey’ to my taste but nonetheless commitment and ability from all was impressive.
The success of the production based, as it is, around a ‘star-vehicle’, is the ability of the actor filling the starring, Fred Astaire role of Jerry Travers. Brian Epps was fortunate to have just the man for the job in Shaun Driver. Shaun’s cool and relaxed on-stage presence and his ability to slide into song or dance with apparent ease combined with his pin-sharp comic timing and extraordinarily expressive face truly impressed. As a showcase for Mr Driver Top Hat worked very well indeed.
Other principal roles were tidily played: Naomi Lawton held her own as Dale Tremont, Jay Westaway looked just right as Horace Hardwick, Nick Mountjoy was often funny as manservant Bates, Zack Welfare captured the clichéd, caricature-camp, Italian designer Alberto Beddini with good energy and Ali Enticott’s Madge Hardwick was very watchable. This production was early in the ‘run’ and there was an occasional small stumble with words, a hint of nervousness and a slight lack of sharp cue-bite but I am sure that these minor issues would iron out as the show progressed.
There were a few ‘issues’ with stage management too: a hotel lift that refused to rotate into place and a good deal of noise during the very many ‘front of tabs’ scenes but perhaps this is to be expected early in the run with such a complex piece and, again I am sure that YAOS’ customary back stage slickness would be swiftly recovered.
Musically the show worked very well. Gill Merrifield’s experience and undoubted ability as a Musical director was always apparent. Ensemble and principal numbers were strong and tuneful.
As a piece of nostalgic nonsense; a song and dance show packed with attractive costume, scenery and movement YAOS’ Top Hat worked.
Will it challenge the world or push the boundaries of Musical Theatre? The appreciative Thursday night crowd did not give a hoot.
Thanks for inviting me