TOP HAT wins Olivier for Best New Musical; is Broadway Next? — Page 2

From the online videos I saw of the tap numbers (Puttin' On The Ritz, the finale bows, and Top Hat), I was a little disappointed by the choreography. It seems that the goal was to put the ensemble in lines, with everyone dancing the identical steps in place, on their individual marks. Very minimal traveling, or use of the stage.

I assume that the Fred and Ginger numbers have been recreated from the movie, as closely as possible. I'm always appreciative of the skill it requires to dance those numbers (the ones recreated from the movie) "live", eight shows a week, with no opportunity for "second takes", but when I think about the creativity put into the tap choreography for Anything Goes, I'm a little let down by Top Hat.

Updated On: 4/29/13 at 09:00 AM

Here's their performance from the Oliviers last night for anyone who's interested. They were the opening of 'act 2' after intermission if you wondered why there are people milling about at the beginning.
https://www.youtube.com/watch?v=yte6SzAGj3Q

Updated On: 4/29/13 at 01:32 PM

Looking at the trailer - that looks like a very large cast!

And as for everyone doing the same choreography during the tap, it can get a little muddy when you segment the ensemble and have them tapping different steps at the same time.

Isn't variation in formation kinda Choreography 101?

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"Isn't variation in formation kinda Choreography 101?"

You're absolutely right and they did some of that. Especially in a "question-answer" segment. But I, maybe incorrectly, thought the poster was hoping for all the tappers to be doing different steps at the same time, which doesn't work so well and isn't what I think you mean by "variation in form."

> "When everyone is doing the same step at the same time and you get precision dancing, the effect can be thrilling."

I completely agree, especially when the genre is 'ballroom' and the ladies are in flowing gowns. I do get a sense of a stage filled with mirrors (which is nice). But, does this have to be used in every ensemble number? From what I've seen, the effect feels overused (for my tastes). I've not seen a single ensemble number where this strict repetition style is *not* used (with only minimal use of traveling, or movement off the mark).

Face the Music/Top Hat, white Tie...
https://www.youtube.com/watch?v=yte6SzAGj3Qv=aDdWzPDWfR8


Bows Rehearsal
http://www.youtube.com/watch?v=BecHw4Ar_UU


Puttin' On the Ritz
http://www.youtube.com/watch?v=QfmbNs3s5UE

Top Hat Trailer
http://www.youtube.com/watch?v=JWzb_mZk8QA

When you watch the trailer, it seems like every cut from a dance number shows this "block" style (I can't think of a correct term to describe this style).

Particularly in a number like Puttin' On the Ritz, I'd prefer the choreography to break away from this style and add more traveling for visual interest. I compare it to a number like Anything Goes, where traveling is used frequently to add visual interest:
http://www.youtube.com/watch?v=qo6lPifGnGA

I'm the silly type that thinks that there always needs to be a "classic broadway" type of show running all the time. A show with great, classic, music that everyone knows and show stopping dance/tap numbers. Sort of your broadway cliche kinda show. For a while I think it was Anything Goes, and then Nice Work, and now with Nice Work closing I think Top Hat would be a perfect fit. I would LOVE to see it make a Broadway transfer. Preferably with Kristen Beth Williams. She is incredibly talented and was a huge stand out in both Nice Work and Anything Goes.

Well this is closing in the West End at the end of summer now so unsure whether it will make the transfer.

Tommy Tune is working on a new production for Broadway.


Tommy Tune Grooming West End Musical Top Hat for American Audiences