Review: High Society (Barbican Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

London’s Barbican Theatre has become the home for Cole Porter musicals in recent years, with the acclaimed production of Anything Goes enjoying two summers there in 2021 and 2022 and a revival of Kiss Me, Kate wowing audiences in 2024. After a year without a Cole classic, normality has been restored with the premiere of a highly anticipated new production of High Society. Packed with a cast of recognisable names and faces, would this new take on a classic be full of riches, or would it be far from sensational?

Though High Society is a classic in its own right, the stage musical is much newer than some would realise. Beloved by many for its classic 1956 movie starring Grace Kelly, Bing Crosby and Frank Sinatra, its stage adaptation debuted on Broadway in 1998. The plot centres around Tracy Lord as she prepares for the society wedding of the year. However, she has to deal with an old flame and a new love interest, leaving her wondering if she is marrying the right man, all while dealing with tabloid reporters hunting for scandals.

If that doesn’t sound like the most taxing plot in the world, you wouldn’t be wrong. Arthur Kopit’s book, based on the movie, may be on the thin side, but it still pleasantly transports you from one scene to another, never quite threatening to throw any serious stakes in and instead opting to leave the audience entertained. It certainly does the trick, though it is admirable that Bob Martin has created some additional book material to attempt to fill out the plot (and I use that word loosely) somewhat. There is only so much that can be done, however, save for a complete rewrite, and the result is still an enjoyable albeit underbaked romp.

High Society is the kind of musical you visit to switch your brain off. Though the lack of emotional investment can work against it slightly, it more than makes up for it in style and execution. That is largely down to Rachel Kavanaugh’s stunning direction, transporting audiences to the lavish life of the Lord family with inspiring choices, always ensuring the comedy shines through as much as the glamour of the story. The creative team are aware this may not be the most substantial story in the world, but has embraced it for what it is, while attempting to make it the best possible version it can be, and better than the versions that predate it. Job well done, I’d say, with Kavanaugh helming a feelgood and fabulous musical that proves perfect escapism.

The moment the curtain goes up, Tom Rogers’ awe-inspiring set design proves astonishing with its grandeur and glamour, making full use of the large Barbican stage in a production that is always swanky and stylish. This continues throughout the performance as large set pieces transform the stage, never cheapening the production and always looking as rich as the socialites at the heart of the story. Lighting from Howard Hudson beautifully complements it, ensuring a very attractive-looking production that more than makes up for the weaker aspects of the material.

One reason Cole Porter’s musicals prove such a winner with audiences, especially at the Barbican in recent years, is his timeless songbook. These are songs that have transcended their original form to be included in multiple shows and have been adored for multiple generations. The sense of nostalgia and comfort they bring make for a joyous watch, with ‘Who Wants To Be A Millionaire?’ and ‘True Love’ among the best associated with High Society. Interestingly, Porter’s songbook has been opened up for this production with some of his other well-known numbers added into the mix, while the order has been shuffled from previous productions. While ‘I’ve Got You Under My Skin’ and ‘Be A Clown’ may feel slightly random and shoehorned in, you can’t deny they certainly do the trick.

This production follows the blueprint of Anything Goes near perfectly, ensuring show-stopping numbers appear at the end of Act One and early in Act Two, with incredible choreography making for two huge spectacle performances. This is where Anthony Van Laast’s choreography comes alive, with ‘Now You Have Jazz’ and ‘Let’s Misbehave’ two of the most impressive sequences I’ve seen in any musical since ‘Anything Goes’ and ‘Blow, Gabriel, Blow’. It is in these two numbers that High Society makes it clear what its intentions are, and more than delivers in its attempts to spread a little joy and ensure audiences leave the theatre with a smile on their faces and a spring in their step. The fact I could see multiple audience members humming and singing along both in the interval and post-show suggests the creative team did exactly what they set out to do.

If there is another reason to see High Society, it is for the chance to see a large cast full of incredible talents, delivering one of the finest ensemble pieces I have seen this year. Helen George leads the cast as Tracy Lord, demonstrating a natural gift for winning stage presence, with fantastic comic timing and a beautiful singing voice, setting her up as a fine leading lady in musical theatre. Julian Ovenden happily stays in the background for much of the show as Dexter Haven, making his presence felt in the moments he is front and centre, wowing with his stunning vocals as he always does, most notably on ’Just One Of Those Things’ in Act Two, while David Seadon-Young has some fine albeit fleeting moments as George Kittredge.

Freddie Fox makes his musical theatre debut as Mike Connor with an impressive performance. Fox is cheeky, commanding and charismatic as Connor, filling the stage with his presence and lifting the show with his every appearance. Through strong vocals and impeccable comic timing, Fox proves to be one of the finest performers. Another highlight is Nigel Lindsay for his exaggerated but always hilarious turn as Uncle Willie. At times, it feels as if he is in a different show entirely, but this sharp contrast works in his favour, ensuring that whenever he is on stage, the next laugh isn’t far behind.

Two of the stars of Anything Goes reunite for this production, with Carly Mercedes Dyer once again proving what a shining star of theatre she is with her turn as Liz Imbrie. She may not have as much to do this time around, and her character does suffer from being one of the more one-dimensional of the piece, but it is a testament to Dyer’s strength as an actor that she makes the most of this. On the other hand, Felicity Kendal enjoys a more substantial role this time as Mother Lord. The result sees Kendal at her scene-stealing best in a brilliantly batty and overblown characterisation that is the undoubted standout of the entire musical. In a cast that all impressed in their own right, it is Kendal’s performance I left the theatre still chuckling about.

Sometimes, all you want from a trip to the theatre is a bit of joy and escapism as a break from the problems we face in everyday life. High Society delivers on all fronts. While it may not be the most intelligent or stimulating with its content, its strengths are in huge supply elsewhere. Stunning sets, sensational songs and a wonderful cast make this production a delightful watch, and one that speaks of the timelessness of the songs included. The creative team have done a great job with their attempts to reshuffle and stretch the narrative, and while it is far from perfect, its riches are clear for anyone to see. One of the most entertaining musicals you will see this summer, High Society will easily make you fall in love.

High Society plays at the Barbican Theatre until 11th July. Tickets from https://allthatdazzles.londontheatredirect.com/musical/high-society-tickets

Photos by Pamela Raith