Review: Erewash Musical Society’s Top Hat
Duchess Theatre, Long Eaton. Tue 7th October 2025 – Sat 11th October 2025.
Please note: this review uses he/she pronouns throughout – please contact me if I’ve used any pronouns incorrectly.
Last night I went to see my dear friends in Erewash Musical Society perform their latest production, Top Hat. This is the first production I’ve not performed in since joining the society, so I was excited to see them from the other side of the stage. But how can I review this without bias? Well, Top Hat also happens to be one of my most disliked films! So I certainly didn’t go into the theatre with rose-tinted glasses on. And I wasn’t sure that a small theatre like The Duchess would be able to hold such a big show.
Bringing a big, glittering West End classic like Top Hat to the intimate Duchess Theatre is no easy feat, but Erewash Musical Society pulled it off with charm, creativity, and a genuine sense of joy. Packed with style, humour, and toe-tapping tunes, this production managed to recreate the glamour of 1930s Hollywood on a community stage and make it look effortless. The production used space throughout the auditorium to counter the limited space on stage. This allowed seamless scene changes and moved the audience into new locations without awkward on-stage scene rearranging.
Top Hat is a show that demands elegance and precision. From the sweeping dance numbers to the sparkling comedy, it relies on its performers’ ability to sell both the fantasy and the fun. EMS achieved just that, balancing fun choreography with light-hearted storytelling. Credit goes to co-directors and choreographers Abbi Burns and Vicky Byrne, whose combined vision kept the show moving with pace and polish. Their decision to focus on wit and energy over spectacle was smart, making every scene feel alive and authentic.
Top Hat Principals
Gabryl Oleshko shone as Jerry Travers, a charismatic performer with a cheeky grin and confident vocals. His comic timing was razor-sharp, and his natural ease on stage made him instantly likeable. It’s no small task to follow in Fred Astaire’s footsteps, but Gabs made the role entirely his own, a talented singer and dancer with real charm. My son likened him to Frank Sinatra. I was surprised my son knew who Frank Sinatra was. Jerry Travers is one of those really challenging roles that is intended to carry most of the show. Gabs certainly stepped up to the challenge. Gabs is not only a talented performer but also an exceptional MD. He’ll be MDing the iconic My Fair Lady next year in Burton, so keep an eye on his socials for more information. Gabs is also active on YouTube (which he does with director Abbi, his wife), sharing their health goals and life updates.
As Dale Tremont, Louise Potter matched him beautifully. Elegant and assured, she sang with clarity and control, bringing grace to every scene. Her dancing was fluid and expressive, perfectly in keeping with the show’s vintage feel. Together, Gabs and Louise made a captivating pairing, the kind of chemistry that keeps audiences rooting for the couple all evening. This is Louise’s second show with Erewash Musical Society, so it was lovely to see her in the spotlight. Louise will be taking on the role of Lady Jane Grey next in an original musical written by Kim Sparks (who directed the EMS production of Evita).
Kathi Ludlow was an absolute delight as Madge Hardwick, bringing her trademark confidence and flair to the role. With her dry humour and impeccable timing, Kathi had the audience laughing throughout. She’s a performer who clearly knows how to command the stage, and Top Hat gave her the perfect platform to do so. Kathi has this unique ability to completely transform into a role, making her perfect for roles with big character. Madge was one of these roles, and Kathi definitely showed her skills. I make no apologies for how much I adore Kathi, having performed with her for many years. However, it was her role as the director of my first show with EMS – and the person who rebuilt my confidence on stage – that really makes her special to me. I’m looking forward to getting back on stage with her.
Martin Lewis, as Horace Hardwick, delivered a charmingly comic turn. Following his serious, intense performance as Che in Evita, this was a complete change of pace and one he handled with enthusiasm. His portrayal of the bumbling husband was warm, funny, and filled with personality. Martin is such a dedicated performer and musician. He’s just started work as MD for the upcoming EMUS production of Guys and Dolls, so I imagine downtime is a distant memory at the moment! Martin is also an avid YouTube vlogger, sharing his life at home and in the theatre.
James Christian was a true standout as Alberto Beddini. His larger-than-life performance was nothing short of brilliant, full of energy, confidence, and perfectly executed comedy. His singing was strong, his accent exaggerated just enough, and his physical humour spot-on. It was one of those brilliant performances that elevated every scene he was in. I’m a huge fan of James both as a friend and performer. This performance completely encompasses why. James will be back on stage with EMS for their next production, having previously played Terry in the 2017 EMUS production of the show.
John Wedgwood rounded off the principal cast with a hilariously understated portrayal of Bates. His dry delivery and perfect timing made him a real audience favourite, and his sense of restraint only made the comedy land harder. He also looked fantastic in high society women’s drag.
The Top Hat Chorines and Ensemble
Supporting the leads was a hard-working and enthusiastic company. The Chorines, Louise O’Boyle, Hayley Wood, Jane Freeman, Megan Asher, and Andrea Kemish, brought poise and polish to the show’s many dance numbers. Their stylish presence helped capture the 1930s atmosphere, adding a layer of sophistication to each musical sequence.
The ensemble featured a strong mix of returning EMS regulars and newer faces. Karen Robbins stood out as the London hotel receptionist, delivering her scenes with warmth and confidence. Newcomer Louise Waters impressed across her multiple roles, particularly as the Italian hotel maid, a performance that balanced humour and character nicely. I’ve not yet had the chance to meet Louise in person, but I hope to share the stage with her in a future production. Evan Hagan gave a lovely solo moment, showing off a rich, powerful voice that filled the theatre, while Martin Briggs opened the show brilliantly as Maurice, setting an upbeat tone for what followed.
There was also, of course, a classic Laurie Trott moment (if you know, you know!), a familiar highlight for EMS audiences. Laurie’s cameo as George, the stagehand, provided a perfectly-timed burst of humour that got knowing laughs from the regulars.
Rounding out the ensemble were John Fletcher, Anna Fitzpatrick, Emma Barnes-Marriott, Barbara Cole, Katie Fitzpatrick, and Sue Hagan, each taking on a variety of roles across hotels, clubs, and street scenes. Their energy and commitment kept the world of the show bustling and believable.
Opening night is always overwhelming, both for performers and behind the scenes, so I won’t pretend it went perfectly. But ultimately, dwelling on a technical issue or a missed line is neither helpful nor fair. I’ve had my fair share of onstage blunders, so who am I to talk! It’s very easy to sit in your comfy seat with your glass of wine and critique – getting up there, often after working a full-time day job, takes dedication and commitment!
Behind the Scenes
Co-directors and choreographers Abbi Burns and Vicky Byrne (who made a couple of onstage cameos) deserve full credit for steering such a large-scale production with confidence. Both come from dance backgrounds, and it showed; the choreography was neat, well-rehearsed, and perfectly suited to the Duchess stage. Abbi’s professional experience in entertainment shone through in the show’s pacing and polish, while Vicky’s enthusiasm and warmth brought a sense of joy to the entire production. Abbi is a multi-talented woman, also creating costumes and designing the leaflet and programme.
Musical director Jonah Williams led a superb band, whose live accompaniment added depth and authenticity to the evening. The musicians: Dawn Bratby, Dianne Grebby, and Sharon Cardwell (woodwind); Matt Roberts and Nik Dinmore (trumpet); Jane Pendery (trombone); Chris Loach (guitar); Gordon Sharpe (double bass); Abi Wilson (drums and percussion); and the recently married (congratulations again!) James Bowden (keyboard) played with style and balance, never overpowering the singers but giving each number a lush, full sound. The brass and reeds brought a real swing-era brightness to the score, while the rhythm section gave every tap number a crisp backbone.
It’s worth noting how well the technical and creative teams worked together. The choreography, lighting, and musical arrangements all aligned to make the most of the limited space without ever feeling cramped. Every moment felt considered and confident, the sign of a company that knows its strengths and plays to them. As always, Mark Robbins led the creation of the fantastic set and stage-managed the show. Dave Dallard with Granite AV Solutions managed the sound. And lighting was by Steve Greatorex.
So what’s the verdict?
Top Hat is a bold choice for an amateur theatre group. It’s a technically demanding show that relies on finesse, timing, and charm rather than spectacle. Yet EMS not only met those demands, but they exceeded them. The production was elegant, witty, and full of personality, carried by a talented cast and guided by a strong creative team.
Erewash Musical Society proved once again that with imagination, commitment, and heart, even the smallest stage can deliver big, dazzling theatre. This Top Hat was pure joy, stylish, funny, and utterly feel-good from overture to final bow.
I still won’t be revisiting the film anytime soon, but I’m glad I got to see this version of the musical!
You can still get tickets for the show by visiting Erewash Musical Society, and it runs until Saturday night.
Erewash will be taking on the classic Seventies jukebox musical, Boogie Nights, next. Tickets are available to buy now.
Thank you to Ali Langton (care of Erewash Musical Society) for the beautiful photos.
