It is difficult to resist the world of High Society. There are grand houses, complicated romances, champagne-fuelled parties and, of course, Cole Porter. Originally a 1956 MGM musical starring Grace Kelly, Bing Crosby and Frank Sinatra, the show was adapted from Philip Barry’s play The Philadelphia Story. Following a Summer season at London’s Barbican, this touring production arrives at Salford’s Lowry with all the ingredients for a night of glamour and frivolity. Tracy Lord is preparing for her second wedding when her ex-husband Dexter Haven, journalist Mike Connor and a number of family secrets turn up to complicate proceedings. It is frothy, occasionally ridiculous and knowingly escapist- exactly the sort of musical where everyone appears to have considerably more money and considerably fewer problems than the audience.
Under Rachel Kavanaugh’s direction, Helen George is an appealing Tracy, balancing the character’s confidence and privilege with enough warmth to make her romantic uncertainty believable. But it is Julian Ovenden who brings some of the evening’s strongest theatrical presence as Dexter Haven. Vocally strong, his chemistry with George gives the central relationship a convincing spark, while his comic timing helps him hold his own when the dialogue becomes particularly quick-fire. Freddie Fox is an energetic Mike Connor, bringing a slightly more awkward contrast to Ovenden’s effortless Dexter, while Nigel Lindsay gets some of the evening’s biggest laughs as Uncle Willie. Carly Mercedes Dyer also makes a strong impression as Liz Imbrie.
Tom Rogers’ set and Jon Morrell’s costume design provide much of the production’s visual appeal. The world of Tracy Lord is suitably polished and affluent, with the costumes in particular capturing the elegance of the period. There is enough visual detail to establish the wealth and escapism of the setting, while the design remains practical enough to allow the story to move between its various locations. It is a handsome production, and one that understands that High Society needs to look like a party before it can feel like one.
Where this production falters, though, is within its sound design. At times, the proceedings feel simply too quiet, which takes some of the shine off Porter’s score. The songs fizz pleasantly, but they need more volume, swagger and vivacity to really pop. There are moments when you can sense the production is reaching for that big, glamorous musical-theatre gold, only for the sound to hold it back slightly. It is not a problem with the material- Porter’s songs remain mostly solid- but the production in general could do with turning the dial up a little.
Arthur Kopit’s book fares better. The humour is often very well paced and, importantly, the jokes land. There is a nice lightness to the exchanges between the characters, with the cast resisting the temptation to push the comedy too far. Despite being nearly 70 years old, there is still plenty of life in the central romantic muddle, particularly when the performers allow the characters to feel like realised people.
The standout moment comes with ensemble number Let’s Misbehave, when everything finally clicks into place. The choreography, costumes, cast and music combine to create the sense of occasion that the show has been building towards. It’s fun, cheeky and full of the energy that occasionally feels missing elsewhere.
There is plenty to enjoy in this High Society. It’s charming, funny and easy company for an evening, even if it never does quite pop its cork. When it finds its rhythm, though, the show reminds you why Porter’s music and this particular brand of musical-theatre glamour have endured; and reminds you that, sometimes, you just need to misbehave.
High Society plays at Lowry in Salford until Saturday 3rd October. Further information and booking details can be found here.
Tickets received in exchange for an honest review. #AD
Photography by Pamela Raith.
