REVIEW - TOP HAT THE MUSICAL | THE LOWRY | 31/03/2026
- Sarah Monaghan
- 1 day ago
- 4 min read
TOP HAT THE MUSICAL AT THE LOWRY – A GLAMOROUS, TOE-TAPPING TREAT
Top Hat the Musical at The Lowry brings a touch of golden-age Hollywood glamour back to the stage, and it’s certainly been worth the wait. Inspired by the beloved 1935 Fred Astaire and Ginger Rogers film, this stage adaptation (with book by Matthew White and Howard Jacques) has been delighting audiences since its West End debut—and this latest touring production proves why it remains such a firm favourite.
Featuring Irving Berlin’s iconic score and directed and choreographed by Kathleen Marshall, this is a show that leans fully into its vintage charm. From the moment the curtain rises, Top Hat the Musical at The Lowry transports you into a world of elegance, escapism and pure theatrical joy.
The story follows Broadway star Jerry Travers, who arrives in London to star in a new show and quickly falls head over heels for fashion model Dale Tremont. However, in true farcical fashion, Dale mistakenly believes Jerry is her friend’s husband, leading to a series of misunderstandings, mistaken identities and comedic chaos.
As the story moves from London to Venice, the misunderstandings only grow, creating a fast-paced farce filled with near-misses, confusion and plenty of laugh-out-loud moments.
It’s fair to say the plot is light but that’s entirely the point. This isn’t a show driven by deep narrative stakes; instead, it uses its story as a playful framework to link together its dazzling musical numbers and choreography. What really makes it work is the sharp comedic timing and the way the production fully embraces the silliness, ensuring the audience is laughing along throughout.
Visually, this production is absolutely stunning. The Art Deco-inspired set design is a real showstopper, with its sweeping curves and elegant structure instantly transporting you to the glamour of the 1930s.
The semi-circular design, complete with a rotating centre, allows the production to move seamlessly between locations—from hotel rooms and London settings to the sun-soaked elegance of Venice—keeping the pace flowing effortlessly throughout.
The lighting design enhances this beautifully, bathing the stage in rich, vibrant tones that change in perfect harmony with the music and mood. At times, the combination of lighting, set and choreography feels almost cinematic.
Costume-wise, it’s everything you’d hope for—elegant evening wear, sparkling gowns and classic tailoring that perfectly capture the glamour of the 1930s. Every costume adds to that sense of escapism, making the whole production feel polished and timeless.
And then there’s the music. Irving Berlin’s score is, quite simply, irresistible. From Puttin’ on the Ritz to Cheek to Cheek and Top Hat, White Tie and Tails, these are songs that instantly lift the mood. Performed with style and backed by a rich live orchestral sound, they bring warmth, nostalgia and energy in equal measure.
The choreography is where this show truly shines. Tap dancing takes centre stage, and the precision and energy on display are genuinely impressive.
The opening number sets the tone perfectly, with the full ensemble filling the stage in tightly synchronised routines that immediately showcase the scale and ambition of the production.
The ensemble numbers are slick and full of intricate patterns, while the romantic duets bring a softer, more elegant contrast. There’s a clear nod to the classic Astaire and Rogers style, but it never feels dated—rather, it feels like a joyful celebration of it.
Phillip Attmore leads the production as Jerry Travers with effortless charisma, delivering precise, energetic tap routines that feel smooth, controlled and full of joy. His performance has a real sense of ease to it, making every number feel natural and engaging.
Nicole-Lily Baisden brings elegance and warmth to Dale Tremont, with soft, melodic vocals and a performance that grows in confidence as the show progresses. Her chemistry with Attmore shines most in the romantic dance sequences, adding a lovely sense of connection to the story.
James Hume is thoroughly entertaining as Horace Hardwick, perfectly capturing his slightly flustered nature with excellent comic timing, while Emma Williams commands the stage as Madge, delivering sharp humour and a confident, standout performance.
James Clyde nearly steals the show as Bates, with impeccable deadpan delivery and brilliantly timed comedy that lands every time. Zak Edwards was on as Alberto Beddini at this performance, adding plenty of fun with a playful, self-aware performance.
Top Hat the Musical at The Lowry is pure escapism at its finest. It’s glamorous, joyful and packed with toe-tapping numbers that leave you smiling from start to finish.
Judging by the audience reaction on the night, with cheers after the big numbers and a well-deserved standing ovation at the end, it’s clear this production is leaving audiences just as charmed.
Yes, the story is light and the stakes are low—but when the choreography is this dazzling, the music this iconic and the performances this strong, it simply doesn’t matter.
A glittering, toe-tapping celebration of classic musical theatre that leaves you smiling all the way home.
Top Hat the Musical will be at The Lowry until Saturday, 4th April 2026. Tickets are available for purchase through the link provided below.
For more information about the show, please click the button below to visit the official website.
Photo Credit - Andrew Perry
*Our tickets for this show were kindly gifted in exchange for an honest review.
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