High Society

High Society. Image by Pamela Raith

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It’s almost impossible to convey how popular High Society was when it premiered in 1956. With music and lyrics by Cole Porter, book by Arthur Kopit, based on the play The Philadelphia Story by Philip Barry (made into a hugely popular movie in 1940), its star power of Bing Crosby, Frank Sinatra and Grace Kelly was enough to guarantee success. The nearest modern equivalent would be if Brad Pitt and Tom Cruise, with both having the musical chops of Beyoncé, had signed on to play the leads of ex-husband Dexter, and journalist Mike, at the wedding of Dexter’s former wife, the socialite Tracy Lord (if played by Margot Robbie). About to wed a sap named Kittredge whilst still in love with her ex. Throw in a love interest for Mike, a potential scandal, an uncle who’s not an uncle and a Dad who’s not a Dad, mix in an all-night party, drown it in champagne and marinate the lot in the coolest Cole Porter songs of all time and, voilà, you have a genuine musical classic. Director Rachel Kavanaugh wisely knowing that any modern reimagining can either cower in the original’s shadow or respectfully carve its own path. Kavanaugh opting to follow the story of the original, but hanging on it a broader Cole Porter Songbook. High Society, taking some risks as a jukebox musical, delivering a swellegant, elegant night of entertainment.

Julian Ovenden and Freddie Fox in High Society. Image by Pamela Raith

As is to be expected, Helen George as Tracy, Julian Ovenden as Dexter and Freddie Fox as Mike lack the inimitable charisma of Crosby, Sinatra and the ethereal Grace Kelly. But all wisely decide not to compete. Instead, Ovenden and Fox lean into their own natural charisma and vocals and, especially in duets, prove capable of carrying the torch. But the big risk, which pays off handsomely, is Helen George’s Tracy. Gone is the reserved, posh good girl. Instead, George blends the attitude of Annie Oakley, the swagger of Nikki Osborne’s brilliant Bush Barbie, all the while dressed to kill and killing it like Rita Hayworth's Gilda. Making it hard to swallow that Tracy would ever consider marrying David Seadon-Young’s black hole of fun, Kittredge. But story isn’t really what’s being sold here. Dialogue sparkles, but what glitters is Porter’s songbook featuring all the classics from the movie and many, many more. Including a clever arrangement blending Let’s Do It with Let’s Misbehave. All the while George is impossible to take your eyes off, particularly during the drunk pool scene. Standing out amongst some terrific dancers under Anthony Van Laast’s choreography. Van Laast recreating Hollywood's musical, big scene glamour in some excellent chorus sequences.

Nigel Lindsay in High Society. Image by Pamela Raith

If Porter’s songs are a feast for the ears, the spectacle of Tom Rogers’s multifaceted set (pool, hallway, balcony, forest) is a feast for the eyes. Perfectly complemented by Jon Morrell’s divine period costumes, with everything awash in Howard Hudson’s pastel lighting. But High Society’s strength lies with its performances. Carly Mercedes Dyer as Mike’s longed-for Liz Imbrie, along with Malcolm Sinclair as Daddy Seth Lord, Josefina Gabrielle as Mother Lord and Naomi Pacquette as young Dinah Lord round out a terrific cast. With Nigel Lindsay as the adorable Uncle Willie stealing all scenes. To some, High Society will seem the musical theatre equivalent of a tribute band. But so what? Crosby, Sinatra and Kelly are gone. George, Ovenden and Fox are here. And they can sing, and dance, especially George, who is sensational. High Society a fun-filled delight overflowing with classic tunes and Hollywood glamour.

High Society, music and lyrics by Cole Porter, book by Arthur Kopit, based on the play The Philadelphia Story by Philip Barry, produced by Trafalgar Entertainment, runs at Bord Gáis Energy Theatre until 24 October.

For more information visit Bord Gáis Energy Theatre