Top Hat (South Staffs Musical Theatre Company)
You could be forgiven for thinking that Top Hat is all about the dance and very little else, after all it is intrinsically linked with Fred Astaire and Ginger Rogers but, you would be wrong as there is a complex storyline, some highly comedic moments and a rich musicality to add to the movement which make this a strikingly all round piece of entertainment.
Let's fast forward from Fred & Ginger in 1935 to South Staffs Musical Theatre Company in 2018 and Harry Simkin as a sophisticated and debonair Jerry Travers alongside Fiona Winning as a refined and polished Dale Tremont (forgive me for a small aside here but, I did feel I was looking at a young Grace Kelly every time I looked at and listened to Fiona, quite a startling resemblance). This partnership would probably give any a run for their money, both individually and as a pair the glided through every scene as if they were meant to be there.
Roger Stokes gave a dryly witty performance as the much maligned Horace Hardwick joined in Act 2 by Nikki Rai as an effortlessly domineering Madge Hardwick, again another couple perfectly cast as a foil for each other. John Wiley excels as valet Bates, a master of disguise in his task to spy on Miss Tremont in order save Mr Travers from a possible fate worse than death.
Dom Napier brings a sweet comedy genius to the role of dress designer Alberto Beddini, almost achieving Miss Tremont as his wife and receiving great response from the audience for his rendition of the song 'Latins Know How'.
There are a couple of cameo performances that deserve individual mention, Jay Picken as emotional dresser George and Paul Roberts in one of many roles as a Caruso-esque Hotel Singer. There is however a considerable ensemble cast who all add to the atmosphere and storytelling throughout a thoroughly engaging performance.
Whilst the on stage performers will always garner much attention, the Management Team deserve equal plaudits, firstly some exceptional choreography in what is a particularly dance focused piece by Maria Shee, exemplary handling of an amazing Irving Berlin score by Rob Murray and that pivotal and highly accomplished directional role from Alf Rai.
Finally a mention for Stage Manager, Rob Morrison for handling a complicated set in as slick a fashion as it is possible to do, his back stage team are obviously a finely tuned machine.
If you don't leave the Wolverhampton Grand Theatre 'in heaven', I would say you have probably been to the wrong venue and there are few chances left to get yourself some tickets to the correct one as this production finishes on Saturday 13th October 2018.
Book Here
Let's fast forward from Fred & Ginger in 1935 to South Staffs Musical Theatre Company in 2018 and Harry Simkin as a sophisticated and debonair Jerry Travers alongside Fiona Winning as a refined and polished Dale Tremont (forgive me for a small aside here but, I did feel I was looking at a young Grace Kelly every time I looked at and listened to Fiona, quite a startling resemblance). This partnership would probably give any a run for their money, both individually and as a pair the glided through every scene as if they were meant to be there.
Roger Stokes gave a dryly witty performance as the much maligned Horace Hardwick joined in Act 2 by Nikki Rai as an effortlessly domineering Madge Hardwick, again another couple perfectly cast as a foil for each other. John Wiley excels as valet Bates, a master of disguise in his task to spy on Miss Tremont in order save Mr Travers from a possible fate worse than death.
Dom Napier brings a sweet comedy genius to the role of dress designer Alberto Beddini, almost achieving Miss Tremont as his wife and receiving great response from the audience for his rendition of the song 'Latins Know How'.
There are a couple of cameo performances that deserve individual mention, Jay Picken as emotional dresser George and Paul Roberts in one of many roles as a Caruso-esque Hotel Singer. There is however a considerable ensemble cast who all add to the atmosphere and storytelling throughout a thoroughly engaging performance.
Whilst the on stage performers will always garner much attention, the Management Team deserve equal plaudits, firstly some exceptional choreography in what is a particularly dance focused piece by Maria Shee, exemplary handling of an amazing Irving Berlin score by Rob Murray and that pivotal and highly accomplished directional role from Alf Rai.
Finally a mention for Stage Manager, Rob Morrison for handling a complicated set in as slick a fashion as it is possible to do, his back stage team are obviously a finely tuned machine.
If you don't leave the Wolverhampton Grand Theatre 'in heaven', I would say you have probably been to the wrong venue and there are few chances left to get yourself some tickets to the correct one as this production finishes on Saturday 13th October 2018.
Book Here
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