★★★☆☆
The glitz and glam of golden age classics will always draws in a crowd. With the stunning starlets, ritzy rhythms ans overflowing champagne elegance; what’s not to love? Cole Porter’s additions to the Great American Songbook are no exception, Kiss Me, Kate and Anything Goes still enchanting audiences across the globe. This time, it’s High Society‘s chance to shine with director Rachel Kavanaugh at the helm. But can it reach the same heights as the Lowry’s last show High School Musical, or will the jazzy soirée fall flat?
Based on Philip Barry’s 1939 play The Philadelphia Story, High Society first debuted in 1956, in the form of an MGM film starring the likes of Grace Kelly, Bing Crosby, Frank Sinatra, and Louis Armstrong. After a few alterations and additional arrangements from Porter’s musical catalogue, the show premiered on the West End in 1987.
Set in the swing of the niftie-fifthties, the show follows socialite Tracy Lord (Helen George) as ex-husband Dexter Haven (Julian Ovenden) and reporter Mike (Freddie Fox) try to foil her wedding to humourless and objectifying accountant George Kitteredge (David Seadon-Young).
Helen George is inspiring as Tracy, with eloquent pronunciation borne straight from the movies, and a dazzling air of grace. Her elegant persona is humorously usurped by giggly champagne-fuelled antics, while her singing is delightlfully poignant. Comedic relief also came in the form of letchy drunkard Uncle Willie (Nigel Lindsay) and Tracy’s effortlessly dry-humoured Mother (Josefina Gabrielle).
Despite a witty script by Arthur Kopit, High Society is a frivolous affair with rather low-stakes. It both mocks and embraces the glamour of upper-class lifestyle but never feels quite as a lavish as you’d expect, Splashes of carefree whimsy, some colourful personalities, and various drunken escapades make for entertaining highlights, but most moments are largely predictable or inconsequential.
However, Tom Roger’s set is aptly opulent with expansive palatial architecture, sprawling staircases, grand archways, and floral flourishes. Drop-in chandeliers, a glass-house, a pool foundation, and a fairy-light adorned tree transform the manor into various locations on the grounds, with the help of Howard Hudson’s elegant lighting design. His use of vibrant colour contrast was mesmerising, particularly with the deep blues and shimmering water effects blending with gentle beams of orange gleaming from the windows and doorways.
Additionally, Jon Morrell’s costumes are stylish and swanky. A rainbow of satin sheen evening dresses juxtaposes the soft pastel formal wear. Meanwhile, Tracy exclusively appears in flattering floaty white and blue fabrics.
The show’s biggest selling point is Cole Porter’s score with its captivating fusion of classical and jazz music. The playful pianos, blazing brass, and ritzy rhythms are simply enchanting, reminiscent of the charm of Annie and Singing in the Rain, but just stopping short of being iconic earworms. The titular ‘High Society’, ‘Now You Have Jazz’, and ‘True Love’ are fun group numbers heightened by soaring harmonies and Anthony Van Laast’s dynamic choreography. Their flapping arms, and intricately synchronised steps create a visual feast. And yet, despite the opulence most numbers don’t quite scratch that itch. Whether it’s the sound mixing or a lack of pizzazz, the group numbers feel like they’re missing the grand Broadway feeling required for the High Society title.
Nevertheless, outstanding vocal performances were in no short supply. Carly Mercedes Dyer blows the roof off with a spine-tinglingly potent rendition of ‘Under My Skin’ (I’m sure, coming as no to surprise to those who saw her in Royal Exchange’s Singing in the Rain). Her sassy portrayal of love-smitten reporter is commendably endearing. Julian Ovenden’s Dexter is another stand-out, with his charming crooner tone and cheeky personality. His gently purring vibratos and pounding crescendos are mesmerising!
Overall, High Society is overflowing with champagne elegance, but decidedly short on punch. It has the makings of a musical classic with funky music, extravagant visuals, and an amusing script. It’s just missing some complexity in the plot and presentation that would give it the edge.
