I’ve just been in London for three days. It was mostly for the day job: I’m afraid the lazy days of August are now a distant dream. Autumn, with its increased workload and vigorous round of conferences and exhibitions, has now kicked in with a vengeance. The nights are also getting longer, of course, and on Wednesday evening there was a decided nip in the air. Nevertheless, I was having a wonderful time. After five meetings with colleagues and friends (none of them arduous, it should be said, and all of them interesting), I rounded off the day in style by meeting my friend Sally, with whom, as I’ve mentioned before, I stay when I’m in London, and going to see Top Hat at the Aldwych.
Although I’ve seen many (probably too many!) amateur musical productions, I don’t think I’ve ever been to one in the West End before. It was truly breathtaking. Top Hat was made famous by Fred Astaire and Ginger Rogers, for whom it was written, and first produced in 1935. The Aldwych version is faithful to the original – I’m glad to say that it’s not a spiky modern take on what has always been intended to be a slice of sumptuous fantasia – and I’d guess, although I don’t know, probably even follows the same choreography. The dancing was superb. The lead roles were played by Kristen Beth Williams and Gavin Lee, and to my eye – although I daresay this will be considered sacrilege in some quarters – their dancing was every bit as fluid, graceful and amazing as Fred’s and Ginger’s (which I’ve seen on film). The dancing by every member of the cast was of the same high standard. The costumes were magnificent – Williams wore at least ten outfits on stage, each one more glamorous than the last – and the two-tiered set was extremely clever, a brilliant way of making the most out of what is in fact quite a small early twentieth century stage.
The theatre was packed, and not just with people of a certain age. It set me wondering why a musical with no ‘hidden message’, whose appeal resides in the extravagance of everything about it, from the virtuoso performances to the clothes and make-up, should be so popular. I thought that it might be because we’re all fed up with so-called austerity, and seeking a break from it. Spending the evening in a make-believe world where money is no object and everyone is talented and beautiful certainly did the trick for me. I guess that this may be the reason why the original Top Hat went down such a storm, too. The glamour and genius of Fred and Ginger were obviously powerless to dispel the dark shadows that were gathering over Europe in 1935, but they must have given their audiences a night off from thinking about them.
Understandably, the Aldwych doesn’t allow photographs to be taken during performances, so I hope that my words and your imagination will supply the deficit. I have, however, included a photograph of another heart-stirrer, the view from Waterloo Bridge. It was approaching midnight when I was walking over the bridge to catch the train back to Sally’s, so I managed to capture only a fraction of its magic. It’s a place that never ceases to delight me when I’m there. The sweeping views of the Thames, the elegant and floodlit buildings, the reflection of the lights on the water and the London Eye (which is larger and more substantial than the other Ferris wheels I’ve written about) always make me feel proud of our capital city. London can be grey and dingy, mean and impoverished, just like all big cities, I suppose: but on Waterloo Bridge it twinkles and shimmers with the same aplomb and grace that the dancers showed in Top Hat.