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Singin' in the Rain (Royal Exchange Theatre, Manchester) and Top Hat (Southbank Centre, London / UK Tour) - REVIEWS
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- [00:00]
Christy
Hi, this is Christy from Back to the Bar. You've probably heard about GLP1 weight loss medications and the side effects that can come with jumping in too fast. That's why I love Noom. Makes getting started easy. Their microdose GLP1 program begins with a smaller dose and gradually scales up based on how your body reacts. The Noom GLP1 microdose program starts at $99 and is delivered to your door in seven days. Start your microdose GLP1 journey today at noom.com that's n o o m.com Noom micro changes big results average weight loss 8 pounds in first month meds and personalization based on clinical need and not available to all individuals. Medications are not reviewed by FDA for safety, efficacy or quality. Pricing based on first month only.
- [00:49]
Miki Jo
ACAST Powers the World's Best Podcasts Here's a show that we recommend.
- [00:56]
Chris Duffy
We all have bad days and sometimes bad weeks and maybe even bad years. But the good news is we don't have to figure out life all alone. I'm comedian Chris Duffy, host of ted's how to Be a Better Human podcast and our show is about the little ways that you can improve your life. Actual practical tips that you can put into place that will make your day to day better. Whether it is setting boundaries at work or rethinking how you clean your house, each episode has conversations with experts who who share tips on how to navigate life's ups and downs. Find how to be a Better human Wherever you're listening to this.
- [01:31]
Miki Jo
Acast helps creators launch, grow and monetize their podcasts everywhere. Acast.com do you know what I love? I love that theater can be this intricate, articulate, intelligent exploration of the human condition that allows us to better understand those around us as well as ourselves. And at the same time it can also be people wearing metal shoes banging them on the floor at the same time in order to elicit joy. The best part of which is it works every time. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this double feature review on podcast platforms. Yes, my name is Miki Jo. I am obsessed with all things theatre and I am a theatre critic here on social media. You may know all of this already, but what you may be just finding out is that I am here today to review not one but two musicals which I saw over the festive season and I saw both of these productions in my whirlwind of pre Christmas theatre going and I like when life hands me the opportunity to sit down here and talk to you about not one but two shows, highlighting sort of similarities and differences in their material, in the creative approaches taken to reviving them. And there's a lot of crossover between these two, not just because they are both dance heavy classic shows with nostalgic music based on iconic films, both of which in fact were actually musical movies first before ever coming to the stage, which wouldn't happen for several years. But also because not for nothing, at the heart of both of these shows is a love story one cast in each of these productions with non white romantic leads, which is something that we see far less frequently in nostalgic classic dance musicals. So today I'll be bringing you my reviews of both of these productions. You still have a chance to catch each of them if you haven't seen them yet, but if you have, as always, I would love to know what you thought of them in the comments section down below. Or if you have seen either of these shows or perhaps similar shows on stage before, let us know what you thought of those. The question of the day, perhaps being and I know I sound like a teacher, listen, Old habits die hard. What is it about tap dancing that evokes such effervescent joy? It does. In me at least. Anyway. And while you are pondering that, I'm very excited to tell you about these two shows. If you enjoy listening to my review, make sure you're subscribed right here on YouTube with the notifications turned on so you don't miss any of my upcoming videos or following me on podcast platforms. In the meantime, let's talk about Singing in the Rain and Top Hat. So let's begin with Singing in the Rain, a revival production being produced at the utterly unique Royal Exchange Theatre in Manchester, a venue which I feel deserves a little bit of an explanation. And we will get there, but first, some background on the show itself. Now obviously this was a classic, glorious MGM movie musical. It wouldn't make its way to the stage, like I said, for several decades. And there is a quintessential production of the show, which I think also originated in Chichester Festival Theatre, transferred to London, has toured subsequently around the uk internationally as well. I believe I've seen that production on more than one occasion and it's a triumph. It's a classic. It is sort of dance heavy, golden age glamour spectacle, lavish joy done brilliantly. And when you get a production like that, it's sort of challenging to top it. And I think, you know, with any musical revival as that Happens, you have one of two choices if what you're looking for is absolute success. You can either do something bold and reimagine the thing and go in a very different creative direction, or you can just try and achieve quintessential perfection, which is difficult to do. And the Royal Exchange, based on the configuration of the venue, has no choice but to try and do something completely different. Because this is not a huge stage the likes of which Singin in the Rain has played on previously. This is an intimate space in the round, viewed by audience members, sat on three different levels within this sort of hemispherical structure, which is within the grand former Royal Exchange building. You enter into this very classic piece of architecture, which isn't dissimilar to a lot of other theatrical venues, and you find inside of it something that looks like it belongs in a science museum that maybe NASA built in the 80s, and that's the Royal Exchange. The band are split across various different positions. The cast are running into the space from outside dressing room spaces. It is a completely unique theatrical experience. And what happens to a show like Singing in the Rain when you produce it at that kind of a venue? It changes our perspective on the material. It adjusts the storytelling and our focus on the show. And rather than it feeling like Singing in the Rain, the Broadway esque spectacle, instead, this production felt very much like we were on a backlot, like we were in those sort of private rooms talking about whether or not the film was going to work. A little bit of context about the story of Singing in the Rain. We are acquainted with Hollywood leading man Don Lockwood, who has appeared very successfully in a handful of silent films opposite the same leading lady, Lina Lamont, with everyone speculating about their presumed romance. Only with everything going their way so far, there are challenges on the horizon with the dawning of talking pictures. This being a problem more so for Lena than Don, because, you know, her acting skills notwithstanding, she has something of an auspicious voice. To quote one of her wise, wise utterances, I can't make love a bush and how true that was. Now, Don is also a song and dance man with a wise, cracking, toe tapping sidekick who encounters a young aspiring actress named Kathy Selden. It's that very classic sort of off on the wrong foot turned to romance kind of an encounter. White Christmas does more or less the same thing. He's the deeply charming star and she's the savvy ingenue who knows better than to fall for it. But the scheme that they come up with eventually and I say eventually because I forget every single time that we don't really get to the meat of this part of the narrative until the show's second act is that they going to salvage the terrible talking picture that the studio have been trying to make and thereby salvage Don's career by having Lena's singing voice be dubbed by the far more talented Kathy Selden, even if that leaves her temporarily off in the shadows. There is also an extended ballet sequence towards the end of the narrative. Just cause. And one of the key differences between a show like this and one like Top Hat is for the most part, the majority of the musical numbers. In Top Hat, the production numbers at least, are somewhat diegetic. They are being performed to be actual dance numbers performed by dancers in Broadway style spectacular numbers. And in Singing in the Rain, very often they start dancing for the sheer joy of it. In Moses Supposis, Don is receiving dialect coaching before breaking out into rhythmic tap dance alongside Cosmo in a very iconic tap number with Good Morning, the three of them are planning how they're going to try and save this movie and they're coming up with this scheme and then they just start all dancing together and Singing in the Rain. He is just so full of the joy of the moment and this blossoming relationship with Kathy that he begins to dance in the midst of a rainstorm. And those are probably the most iconic moments of dance from Singing in the Rain, all performed brilliantly here. And a sort of a hallmark of live theatrical productions of Singing in the Rain is the onstage rain effects that they have Don dance amidst with him very often kicking up a lot of that rainwater into the unsuspecting audience or in many cases the suspecting audiences, because sometimes they provide ponchos. And I'd seen that happen before when I saw it at the Palace Palace Theatre or on tour. I truly was not expecting it at the Royal Exchange in this really intimate in the round setting with the first row of the audience sat on this, I think it's called banquet seating, where they're basically reclining on the floor in these very low sofas. Absolutely nothing about this theatrical setting prepares you for the possibility that they might actually be pumping in thousands of liters of local rainwater. But that's exactly what they did so that they could in fact shower their leading man on stage and allow him to kick up that water playfully into various sections, sections of the audience, without which I think it would have been still a lovely enough sort of fringe esque production of Singing in the Rain. Newly created in an unusually intimate setting, but with which it became just utterly glorious. That is the moment that audiences will leave the theatre and go tell their friends and family about. Now I want to talk about the cast and creatives of this production. It was directed by Raz Shaw with. With glorious choreography from Alistair David. I loved all of the tap, I loved all of the ballet and jazz moments, but just the framing of the entire thing felt so fresh and, you know, Singing in the Rain is a show that people go and see for the nostalgia, and it still retained that part of its identity while still feeling entirely new, which was very exciting to me even from the beginning, even from these initial moments of Louis Gaunt as Don Lockwood with walking onto the stage and picking up a hat and a coat, readying himself for this buzzy movie premiere that commences the narrative. This slightly hesitant, slightly fatigued quality of a man who, you know, wasn't being particularly artistically fulfilled, hadn't met the right one yet, was going out to go put on an act alongside Lina Lamont, a co star he didn't particularly care for. So meaningful. Such an interesting way of framing the entire story and the love story that is to come. Louis Gaunt, before I forget to mention, as if I would forget to mention, is the perfect leading man. He is absolutely wonderful. He is such a talent. He has all of the requisite charisma to be able to deliver this kind of a performance perfectly. It's a challenging role to be able to justify. You can dance it, you can sing it, you can act it, but to truly embody the thing, to be able to put across a sequence like singing in the rain, alone on stage, getting flooded with local rainwater. I say local rainwater. Does that even make sense? Local rain? Is that even a concept like local. It's local water. It's. It's locally sourced water. My point is that it's the gallons of charisma and charm that Louis brings to the stage that allows that whole sequence and the whole show to work. And I enjoyed all of the tap dancing, as I always do whenever anyone is doing, like, paradiddles on a piece of furniture. I'm very content. But the nature of the sound of it, within that space, it's sort of. I think tap dancing plays differently in an intimate, in the round setting versus on a large stage. And so the more impactful dance moments were the striking full company jazz and ballet sequences. But it's a production that benefited a lot from this contrast between scale and these more intimate moments. And then, you know, filling the space with all of these different personalities, having people chaotically rushing on and off from different entrances and exits as they're trying to pull off this secret scheme. The set and costumes designed by Richard Kent were also a really interesting part of the show's identity because it didn't feel like vibrant, glorious, Technicolor. There was this sort of just ever so slightly harsh sort of white and grey quality to it at the beginning, and then these glorious oranges and things that came in afterwards on par with the rest of the production's creative vision. It felt like a very new way of visually interpreting Singing in the Rain and these characters. But it also, I think, captured a lot of the charm of the black and white cinema age. Now, there are more fantastic performances that we have to talk about from this company. Carly Mercedes Dyer, a wonderful Kathy Seldon, a lovely and very believable melting of this initial frost between her and Don in De fatical Big Danston, of course, also perfectly sung, as it has to be for Kathy Seldon. She's a perfect Cathy. Laura Baldwin as Lina Lamont was very left field casting, to my mind, because she felt a little younger maybe, than some of the actresses who have played this in the past. It's a very sort of Miss Adelaide character type of a role. It's a great comedy role. She has this villainous quality to her as well. She is a diva. And Laura's portrayal came at Lena from such a new angle. That worked for me so brilliantly because she was every bit as demanding and obnoxious and shrill as the role and the material demand her to be. But finding a lot of laughs by launching her diva behavior not only at the other characters on stage, but also at various members of the audience. When performing her solo song, what's Wrong With Me? As she sort of massages her own ego in song with deliberately dubious vocals, she struts around this small circular central stage demanding validation from the front few rows. It was this sort of an unhinged performance that I thought was just great. And we cannot forget Danny Collins as Cosmo. A very fun supporting role. He gets to perform, make and laugh. He gets to deliver a lot of great jokes alongside Don Lockwood. It's a role that again, reminds me a lot of the dynamic between the two leading men in White Christmas. But it was a very fun performance as part of what I thought was a really terrific revival. Go and check out Singing in the Rain at the Royal Exchange. It's a brilliant version of the show and probably utterly different to any production that you might see for a very long time, perhaps ever. And if you plan on sitting in the front few rows, maybe.
- [15:02]
Christy
Hi, this is Christie from Back to the Bar. You've probably heard about GLP1 weight loss medications and the side effects that can come with jumping in too fast. That's why I love Noom Makes getting started easy. Their microdose GLP1 program begins with a smaller dose and gradually scales up based on how your body reacts. The Noom GLP1 microdose program starts at $99 and it's delivered to your door in seven days. Start your microdose GLP1 journey today at Noom.com that's n o o m dot com Noom micro changes big results. Average weight loss eight pounds in first month meds and personalization based on clinical need and not available to all individuals. Medications are not reviewed by FDA for safety, efficacy or quality. Pricing based on first month only.
- [15:51]
Miki Jo
An umbrella. From one tap dancing show to another. Then get ready to put down those umbrellas, take off those waterproof ponchos and instead grab your top hat, your white tie and tails. We are talking about Top Hat the Musical at the South Bank Center. So once again, a classic movie musical and all dancing movie musical, one of the many to star Fred Astaire and Ginger Rogers and like with Singing in the Rain, one which wouldn't make its way to the stage for several decades after it was first on screen. And it was producer Kenny Wax, as he was saying a couple of weeks ago at the show's media launch, who actually convinced the descendants of Irving Boleyn to allow the show to be produced on stage by appealing to their nostalgia in spite of the fact that they were sort of determined that Top Hat ought never to be done as a live stage musical, and convincing them that it would be joyous to get to hear these songs for their children and grandchildren to get to hear these Irving Berlin classics performed brilliantly on stage. And not that we haven't had the chance to hear so many of Irving Berlin's glorious compositions on stage, often accompanied by dance, White Christmas being another show that I'd mentioned, but I'm very glad that Top Hat did eventually get the green light now. It was first brought to the stage about a decade and a half ago, and while it has subsequently been done regionally, I first saw it at the very intimate dinner theatre in Berkshire, the Mill at Sonning. This is its first sort of major revival since, and it combines what is almost a Shakespearean comedy plot with this extended confusion arising from mistaken identity with these glorious songs with a romantic setting and plenty of dance. With the choreography here arising from the fact that leading man Jerry Travers is not a movie star, but he is a stage star, performing in, I believe, a Broadway show before he is hired to go and open a show in London. I think the geography of the whole thing matters very little. We eventually end up on, I believe, the French Riviera. It's. It's just, you know, it's nice places where people wear nice clothes and try and fall in love but get in their own way. That's basically what's going on here. He is a dance star and he, on his travels, meets a lovely young woman who mistakes him for the husband of her friend who she has not yet met, because that is who he is sharing a hotel room with. And so, in spite of this initially promising, amorous encounter, she, for the longest time thinks that, you know, it's no good her pursuing this, and it's incredibly inappropriate of him to be pursuing her because he's married to her friend. She finds it comically puzzling when she meets up with that friend who hasn't put everything together. In fact, nobody has really figured out what is going on here and why she keeps punching this man in the face. When her friend Madge eventually tries to push the two of them into each other's arms, because she's hoping to set up these two actually single individuals who seem pretty perfect for each other, this young woman, whose name is Dale Tremont, is perplexed, but eventually decides, you know what? Madge seems fine with it, so fine, I will dance and flirt with her husband, even though this is really weird. And so, aside from a couple of other moments of theatrical choreography, for the most part, we get these massive tap sequences when Gerry is fronting production numbers, which are actually diegetic. We also get rhapsodic moments of dueting Dance dance between the two of them, referencing the Fred Astaire and Ginger Rogers choreography from the silver screen. Of course, they perform some of the songs from the Top Hat movie, including Cheek to Cheek, Heaven, I'm In Heaven, as well as the song Top Hat itself. But various others from the glorious Irving Berlin songbook have also been added into the show, including some of his biggest hits, like the opening number Putting on the Ritz, which certainly packs a punch. And having seen Singing in the Rain a few days before this, and I really did enjoy the tap dancing in that. There is nothing that can beat this kind of tap choreography, and it was very interesting to hear Kenny Wax I think this was on the what's On Stage podcast talking about the fact that the South Bank Centre is a great venue for this because the auditorium is entirely on an inclined rake. So unlike with a lot of other sort of low stalls and high stages, everyone in the audience can actually see the footwork happening and they compare that to the tap sounds that they are hearing. But to have this full ensemble against this art deco scenic design in these glorious costumes, tapping out Kathleen Marshall choreography with bullet fire like precision is so fantastic. There's something in my experience about the impact of it, the volume of it and the synchronicity that makes your heart start to beat along to that rhythm. Although hopefully not to each individual tap because that would be. That would be incredibly far. Now, Matthew White and Howard Jacques are responsible for adapting Top Hat for the stage. And one of the lovely things about what's happened to the story is they've taken the Fred and Ginger mistaken identity, slow burn love story plot and added in these charming wacky supporting characters, or in some cases just sort of fleshed out their material a little bit more. You have Madge and her husband who are experiencing a little confusion of their own and who need to reconnect a little more meaningfully, allowing perhaps the usual demographic of theatrical audience to see maybe their own later in life marriages reflected on stage. Because Madge and her husband haven't been together. I keep forgetting this character's name. What is this man's name? I can't keep calling him her husband. Horace. There you go. Madge and Horace. That feels better. Madge and Horace haven't been together their entire lives. These are both sort of subsequent marriages for each of them. And there's something charming about the duality of these whimsical young lovers coming together and also this later in life relationship who have a duet towards the end of the show when they're singing about all of the frustrations that they experience with each other, which eventually leads them towards a conclusion of contentment. And there is brilliant support too from the surprisingly hard working butler Bates, who takes it upon himself to insert himself into all of these different scenes and go undercover. As well as the incredibly flamboyant Alberto Badini, a character whose comedy largely arises from his various malapropisms and his insistence upon himself. All of which are great ingredients for another charming show. It maybe doesn't have quite as many iconic production numbers as A Singin in the Rain, but it has beautiful tunes and really fantastic dances. Although I will say it is also another one where the narrative truly doesn't begin until the second act. And with Singing in the Rain at least like you have a lot of well known stuff in the build up to that with this one the show, the story just does not start like the first act is important and everything gets set in motion. But all of the best parts of this show are within its second act. Finally then, let me tell you about the cast and creatives who have brought Top Hat toe tappingly to the stage.
- [22:52]
Christy
Hi, this is Christy from Back to the Bar. You've probably heard about GLP1 weight loss medications and the side effects that can come with jumping in too fast. That's why I love Noom makes getting started easy. Their microdose GLP1 program begins with a smaller dose and gradually scales up based on how your body reacts. The Noom GLP1 microdose program starts at $99 and is delivered to your door in seven days. Start your microdose GLP1 journey today at noom.com that's n o o m.com Noom micro changes big results average weight loss 8 pounds in first month meds and personalization based on clinical need and not available to all individuals. Medications are not reviewed by FDA for safety, efficacy or quality. Pricing based on first month only.
- [23:45]
Miki Jo
So considerable applause has to be given. Given for director and choreographer Kathleen Marshall. Multi Tony Award and Olivier Award winning director and choreographer Kathleen Marshall who has become synonymous not just with lavish dance musicals but particularly with tap dancing on stage. There is such an artistry to the way that she builds these extended sequences and elicits joy in them, but also choreographs with such a sense of whimsy and of character. Armed in this instance of with a brilliant leading man in Philip Atmore who is the most incredible tap dancer. He plays Jerry Travers thrillingly. He is also a shimmering personality on stage. He is a confident leading man who can deliver all of these production numbers, but the way that he dances, giving this sort of Ann Miller reminiscent rapid intensity of tap doing these chenille turns gliding across the stage. He has this quality as he's doing it where it looks like he's in in flight. I've seen a lot of very skilled dancers in my time, but there's a level of star power and artistry that you occasionally come across which is just breathtaking to watch and it's really brilliant to get to see him dance, particularly to see him tap dancing on stage. He stars opposite the wonderful and versatile Amara Okarike on stage. I've seen Amara in a few different shows now, and every time it is an utterly different character because I saw her play Vendler in Spring Awakening and then Eliza Dolittle in My Fair lady and now Dale Tremont. She is covered in the Ginger Rogers feathers and she is fox trotting around on stage and playing this sort of Hope Harcourt in Anything Goes. Esque kind of a personality, but making her slightly more enjoyable. Amara is always a delight. She dances up a storm on stage. She's particularly heartwarming in this production with this lovelorn character arc. But I do think a lot of the best material in Top Hat does go to these supporting roles, particularly the pros Clive Carter and Sally Ann Triplett, who are this exceptional duo as Horace and Madge. And it's the always satisfying combination of a well meaning fool and an unapologetic diva. Clive finds this really lovable quality as Horace. The connection between the two of them makes the scenes that they play and that song that they have so fantastic. But I have to say, a real highlight of the show for me was that opening of the second act with Sally Ann Triplett finally arriving. I don't believe she's in the first act of the show whatsoever and leading this company number, throwing it back to her Reno Sweeney days, being picked up by the ensemble and dancing and wearing these glamorous costumes. Not too long ago she was playing Fraulein Schneider on either side of the British Channel. She was playing this Eastern European grandmother in the Witches. I'm glad that Sally Ann Triplett isn't forever relegated to those roles beyond her years, and that she still is getting to do this glamorous dancing showgirl thing on stage because she does it very well. But more so than anything else, what's really winning is her withering comedy. She has so many fantastic lines in this script, my favorite of which was when Horace makes some kind of a remark about her only marrying him for his father's money and she replies, don't be ridiculous, Horace, or something to that effect. I would have married you no matter whose money it was. It's so delicious. And we also have to credit the brilliant, hilarious support from James Clyde as Bates and Alex Gibson Giorgio as Bedini. And both of them commit wholeheartedly to these extreme sort of farcical characterizations. We've got to talk about this costume design from Yvonne Milnes and Peter McIntosh, who is also the set designer. The set being this very adaptable art deco space with this rotating little interior circle that can take us to different locations. But Just beautiful blues and golds. The vibrancy of the whole thing, the brightness of the whole thing, really lovely to look at. But these costumes, just proper Golden Age glamour. These dresses that dance so well, all of the feathers, the way that they get kicked up, the suits, the tails, the every. All of it. All of the details of these costumes, so stunning to look at. And it's a tall order. It really is, when you announce that you're going to produce a show like this, because that is the expectation when it comes to costuming, when it comes to set, when it comes to choreography, everything has to be very full, very glitzy, very extravagant. In a production like this, if this is the road that you're going down and this is the road that they have gone down in, taking Top Hat back out on the road, then you can't do anything by halves, and they haven't done that here. Once again, this is a show that's really going to win audiences over with that nostalgia factor. I can recall sitting in my lounge and watching old Fred and Ginger movies and being obsessed with that beautiful dance and their partnership together and how gorgeous and fluid that movement was. And this really conjures that. But in this instance, the thing that keeps it fresh and vibrant is the expanded narrative and the new directions that it takes and these new characters. And that's what's going to surprise audience members who haven't seen Top Hat on stage before. Oh, and also one last throwback to costume design. Exceptional hat work, Just brilliant. All of the hats, so many different hats. Hats, Dale's hats, badges hats, Jerry's hats, all of the ensemble dancing and hats. Just fantastic hats all around. Love some good hats. And so those have been my reviews of Singing in the Rain at the Royal Exchange, which you can still catch up in Manchester until the 25th of January. And top hat, currently playing at the South Bank Centre until the 17th before embarking on an extensive UK tour. If you like the sound of either or both of these productions, go and get tickets. Go check them out for yourselves. I promise they are both rewarding theatrical experiences, especially if you enjoy classic dance on stage. But also that idea, which is very much captured within the spirit of both of them, of something very classic, very nostalgic, with exciting new life breathed into it. And if you already have had the chance to see these shows and you agree or disagree with my thoughts, I would love to know what you think in the comments section down below. In the meantime, thank you so much for listening to this double review. I hope that you enjoyed. If there are any other productions that you're eager to hear my thoughts on, as always, let me know in the comments and be sure to stay tuned for many more reviews coming throughout this month and throughout 2026. If you don't want to miss any of those, make sure you're subscribed right here on YouTube with the notifications turned on or following me on podcast platforms. In the meantime, as always, I hope that everyone is staying safe and that you have a stagey day for 10 more seconds. I'm Micky Jo Theater oh my God. Hey, thanks for watching. Have a st. Subscribe. ACAST powers the World's Best Podcasts Here's a show that we recommend.
- [30:39]
Chris Duffy
We all have bad days and sometimes bad weeks and maybe even bad years. But the good news is we don't have to figure out life all alone. I'm comedian Chris Duffy, host of Ted's how to Be a Better Human podcast, and our show is about the little ways that you can improve your life. Actual practical tips that you can put into place that will make your day to day better. Whether it is setting boundaries at work or rethinking how you clean your house, each episode has conversations with experts who share tips on how to navigate life's ups and downs. Find how to be a better human wherever you're listening to this.
- [31:14]
Miki Jo
ACAST helps creators launch, grow, and monetize their podcasts everywhere. Acast.com.