Music & Lyrics by Cole Porter

Book by Arthur Kopit

Review by Dominic Corr

The King’s Theatre

Elegance may often arrive quietly, but sometimes it comes ready to party. From its opening moments, High Society sweeps onto the stage with polished confidence, embracing old-fashioned glamour, romantic entanglements and the unmatched catalogue of Cole Porter songs. Rachel Kavanaugh’s production understands precisely what kind of musical it wishes to be: a celebration of wit, sophistication and escapism. It’s a machine that is primed and ready to go; while its emotional depth occasionally struggles to match the richness of its score, the production’s visual splendour, strong performances and irresistible musicality ensure a thoroughly enjoyable evening of classic musical theatre.

Adapted from the 1956 MGM musical and Philip Barry’s The Philadelphia Story, High Society transports audiences to a world of privilege and looming matrimonial uncertainty. There’s just something about this world of excess we cannot tear our eyes from, as socialite Tracy Lord finds herself preparing for her wedding to the reliable George Kittredge, only for the arrival of her former husband Dexter Haven and a pair of journalists to unsettle carefully laid plans. What follows is less concerned with narrative surprises than with the shifting emotional currents between its characters, set against a soundtrack packed with some of the most recognisable songs ever written for musical theatre.

As Tracy, Call the Midwife star Helen George delivers a performance that captures the character’s poise while allowing glimpses of the uncertainty that lies beneath. There is an effortless quality to her vocal delivery, suited to Porter’s sophisticated score, and she navigates Tracy’s emotional journey with considerable assurance. Importantly, George avoids reducing the character to a simple society princess. Instead, Tracy emerges as a woman caught between expectation and instinct, status and authenticity. There’s agency there, and a messy woman who fleshes out the role beyond the gooey gowns and smiles.

The romantic complications surrounding Tracy are handled with equal skill; chiefly, Julian Ovenden brings a natural charm to Dexter Haven, offering a portrayal that balances confidence with genuine affection. Opposite him, Freddie Fox, as journalist Mike Connor, introduces a welcome contrast. Mike’s scepticism towards the privileged world he encounters provides some of the musical’s sharpest observations, even if the script occasionally softens those tensions earlier than it might. Fox proves a compelling presence throughout, his performance carrying an edge beneath the period setting.

Perhaps the most memorable supporting performance comes from Carly Mercedes Dyer as Liz Imbrie, certainly vocally. Dyer brings warmth, intelligence and understated humour to the role, while her musical performances possess an emotional clarity that cuts through the surrounding glamour. In a production filled with polished characterisation, Liz often feels the most grounded figure on stage.

Elsewhere, gin in hand, Nigel Lindsay relishes every moment as Uncle Willie, providing many of the evening’s broadest comic moments without disrupting the show’s tone. But vying for this, Josefina Gabrielle lends grace and authority to Margaret Lord, delivering a performance full of observations and lacerating humour. Even smaller roles benefit from a company clearly attuned to the production’s rhythm and style.

Visually, this is an exceptionally attractive production and where many audiences will marvel; refreshing to see physical set pieces in an industry dominated by projection screens, thanks to Tom Rogers, who creates a setting that radiates affluence without becoming overwhelming, allowing the performers to occupy the space naturally while maintaining a sense of grandeur. Complementing this, Howard Hudson provides lighting that recalls the warmth and vibrancy of classic Hollywood musicals. Together, the designs create a world that feels lavish but never artificial.

The production reaches its greatest heights during its musical sequences with Anthony Van Laast’s choreography- energetic, elegant and beautifully executed by the company, while the orchestra under Dan McLaughlin ensures Porter’s music remains the evening’s defining asset. Songs including True Love, Who Wants to Be a Millionaire?, Now You Have Jazz and Well, Did You Evah? arrive with infectious vitality, each contributing to the production’s sense of effortless sophistication.

The production’s sole limitation lies within the musical itself. Kopit’s book can struggle to generate the dramatic tension required to fully support the strength of the score; all of its payoff coming late into the show, with a rear-ending of plot threads colliding together. The relationships are engaging, but there are moments when character development gives way to another song or spectacle. Kavanaugh’s direction keeps proceedings moving smoothly, yet there remains a sense that the emotional stakes could be sharpened further.

Nevertheless, High Society succeeds because it understands the enduring appeal of its material. This is a production that celebrates style without sacrificing craft, presenting Cole Porter’s music within a visually sumptuous and expertly performed framework. For all its champagne sparkle and playful romance, there is an appreciation here of the melancholy and longing that often sit quietly beneath Porter’s finest songs.

Musical theatre need not always strive for reinvention. Excellence is found in execution, in allowing timeless music, strong performances and confidence to do precisely what they were written to do. On its own terms, High Society proves itself a richly entertaining experience, delivered with elegance, humour and no shortage of theatrical charm; but one which doesn’t take itself too seriously.

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