Podcast Episode Summary

Podcast: MickeyJoTheatre
Host: MickeyJoTheatre
Episode: Singin' in the Rain (Royal Exchange Theatre, Manchester) and Top Hat (Southbank Centre, London / UK Tour) - REVIEWS
Date: January 8, 2026

Overview

In this engaging double-review episode, theatre critic MickeyJo shares his thoughts on two recent UK stage revivals: Singin’ in the Rain at Manchester’s Royal Exchange Theatre and Top Hat at London’s Southbank Centre (ahead of its UK tour). MickeyJo explores how these iconic, dance-driven, film-to-stage adaptations deliver nostalgic joy and fresh creative choices—especially through bold direction, standout casting (with two non-white romantic leads—a rarity in classic dance musicals), and inventive staging. He highlights what distinguishes each production and what keeps the magic alive for modern audiences.

Key Discussion Points & Insights

Introduction: The Duality of Theatre’s Joy

• The Power of Tap: MickeyJo opens with the essence of dance in classic musicals and questions:
  “What is it about tap dancing that evokes such effervescent joy? It does. In me at least. Anyway.” (03:04)
• Outlines his plan to review two shows in tandem, noting both similarities (iconic dance-heavy MGM-heritage, originally musical films, romantic heart with diverse casting) and differences.

1. Singin’ in the Rain – Royal Exchange Theatre, Manchester

[Starts at 03:37]

Background and Venue Uniqueness

• Explains the legacy of Singin’ in the Rain and how its well-known stage version is difficult to innovate upon.
• Royal Exchange Theatre:
  • “This is not a huge stage...this is an intimate space in the round, viewed by audience members, sat on three different levels within this sort of hemispherical structure...” (04:36)
  • The venue forces a creative reimagining, making the musical feel like a backstage Hollywood story rather than Broadway spectacle.

Story & Structure

• MickeyJo gives a “classic” rundown of the show’s plot—movie stars Don Lockwood and Lina Lamont, new talkies era, romance with rising talent Kathy Selden, and comically disastrous film dubbing plotline.
• Notes pacing:
  • “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...” (06:03)

Distinction vs. Top Hat

• Top Hat’s numbers are more diegetic (performed as actual dance shows within the story); Singin’ in the Rain’s are about “the sheer joy of it...”
• Iconic numbers performed here—Moses Supposes, Good Morning, the famous rain-soaked title number.

“Rain Effect” Live on Stage

• The production includes on-stage rainfall even in an intimate venue:
  • “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...” (09:32)
  • Audience in the front row may get soaked (poncho warning implied!).
  • “That is the moment that audiences will leave the theatre and go tell their friends and family about.” (10:01)

Creative Team & Performances

• Direction and Choreography:
  • Directed by Raz Shaw; choreography by Alistair David.
  • “Just the framing of the entire thing felt so fresh...it still retained that part of its identity while still feeling entirely new.” (10:24)
• Cast Highlights:
  • Louis Gaunt as Don Lockwood: “The perfect leading man...the gallons of charisma and charm that Louis brings to the stage allows that whole sequence—and the whole show—to work.” (11:18)
  • Carly Mercedes Dyer as Kathy Seldon: “A lovely and very believable melting of this initial frost between her and Don...She’s a perfect Cathy.” (12:36)
  • Laura Baldwin as Lina Lamont: “Laura’s portrayal came at Lena from such a new angle...this sort of an unhinged performance that I thought was just great.” (13:13)
  • Danny Collins as Cosmo: “A very fun supporting role...He gets to deliver a lot of great jokes alongside Don Lockwood.” (14:23)
• Set and Costume Design:
  • Designed by Richard Kent—subtle color palette evolving over act, nods to black-and-white cinema, not just eye-candy Technicolor.

Final Verdict

• “Go and check out Singin’ 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... an umbrella.” (14:52)

2. Top Hat – Southbank Centre, London & UK Tour

[Starts at 15:50]

Show History & Staging Approach

• Background on its journey from Astaire/Rogers film to stage musical.
• Credits producer Kenny Wax for convincing Irving Berlin’s descendants for permission.
• “It combines what is almost a Shakespearean comedy plot with extended confusion arising from mistaken identity with these glorious songs with a romantic setting and plenty of dance.” (16:57)

Story and Narrative Tone

• Follows Broadway stage star Jerry Travers on a journey of romantic confusion and slapstick misunderstanding across glamour-filled settings (NYC, London, French Riviera).
• Comedic tension built around mistaken identities, romantic entanglements.

Music, Dance, and Stagecraft

• Songs include movie originals (Cheek to Cheek, Top Hat) and Berlin’s greatest hits (Puttin’ on the Ritz—“certainly packs a punch” (18:56)).
• Choreography and Venue:
  • “There is nothing that can beat this kind of tap choreography...[the Southbank Centre] auditorium is entirely on an inclined rake...everyone in the audience can actually see the footwork happening and they compare that to the tap sounds that they are hearing.” (19:27)
  • “To have this full ensemble...with bullet fire like precision is so fantastic...” (19:44)

Narrative Expansion and Supporting Characters

• Adapted by Matthew White and Howard Jacques: “They’ve taken the Fred and Ginger mistaken identity, slow burn love story plot and added in these charming wacky supporting characters...” (20:13)
• Madge and Horace—present dynamic marriages alongside young lovers.
• Scene-stealing butler Bates and flamboyant Alberto Badini provide farcical comic relief.

Act Structure

• “All of the best parts of this show are within its second act.” (22:16)

Creative Team & Standout Performances

• Direction/Choreography:
  • Kathleen Marshall: “…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.” (23:46)
• Cast Highlights:
  • Philip Atmore as Jerry Travers: “The most incredible tap dancer...the way that he dances, giving this sort of Ann Miller reminiscent rapid intensity...occasionally you come across which is just breathtaking to watch.” (24:12)
  • Amara Okereke as Dale Tremont: “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...she dances up a storm.” (25:15)
  • Clive Carter and Sally Ann Triplett as Horace and Madge: “It’s the always satisfying combination of a well meaning fool and an unapologetic diva...their connection makes the scenes they play and that song that they have so fantastic.” (25:59)
    • Sally Ann Triplett’s entrance and big Act II number: “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.” (26:48)
  • James Clyde (Bates) & Alex Gibson-Giorgio (Badini): “Commit wholeheartedly to these extreme sort of farcical characterizations.” (27:48)
• Set and Costume Design:
  • Yvonne Milnes (costumes) and Peter McIntosh (sets): “Beautiful blues and golds...All of the details of these costumes, so stunning to look at. And it’s a tall order...” (28:11)
  • “Exceptional hat work, just brilliant. All of the hats, so many different hats.” (29:01)

Final Thoughts

• “Once again, this is a show that’s really going to win audiences over with that nostalgia factor...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.” (29:24)

Notable Quotes & Memorable Moments

• “What is it about tap dancing that evokes such effervescent joy? It does. In me at least. Anyway.” (03:04)
• “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...” (09:32)
• “If you plan on sitting in the front few rows, maybe... an umbrella.” (14:52)
• “There is nothing that can beat this kind of tap choreography...to have this full ensemble...with bullet fire like precision is so fantastic.” (19:44)
• On Sally Ann Triplett as Madge: "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...I would have married you no matter whose money it was." (27:04)
• “Exceptional hat work, just brilliant. All of the hats, so many different hats. Hats, Dale's hats, Badini's hats, Jerry's hats. All of the ensemble dancing and hats.” (29:01)

Important Timestamps

• 01:31 – Introduction to double feature episode, thematic setup
• 03:37 – Singin’ in the Rain review begins
• 06:30 – Plot summary, comparison to Top Hat
• 09:32 – The magical in-the-round “rain moment”
• 10:24 – Direction, creative framing
• 12:36 – Casting notes—Don, Kathy, Lina, Cosmo
• 14:52 – Final thoughts / cheeky umbrella warning
• 15:50 – Top Hat review begins
• 18:56 – Choreography and spectacle discussion, Southbank Centre advantages
• 20:13 – Supporting roles, narrative expansion
• 22:16 – Best material in the second act
• 23:45 – Director/choreographer Kathleen Marshall’s achievements
• 24:12 – Philip Atmore (Jerry) overlooked “breathtaking” artistry
• 29:01 – “Exceptional hat work”—costume design praise

Overall Summary & Recommendations

MickeyJo’s lively, detail-rich reviews celebrate two classic musicals reinvigorated for today’s audiences, with a focus on creative staging, knockout choreography, and casting that feels both nostalgic and freshly relevant. Both productions are strongly recommended—Singin’ in the Rain for its unique immersive staging and bold technical feat, Top Hat for its lavish production values, comic supporting performances, and tap-dancing brilliance. MickeyJo encourages listeners to catch both runs, especially for fans of traditional dance musicals with a fresh twist.