High Society | The Lowry

Cole Porter’s musical comedy High Society has arrived at The Lowry following its sold-out West End season, allowing audiences to step into the world of champagne, scandal and old-Hollywood glamour. The show instantly sets itself against the backdrop of a lavish wedding ready to unfold before quickly unwinding as we discover the truth behind hidden relationships and family dramas.

The stage iteration of this production has been famously adapted from the 1956 film starring the likes of Grace Kelly and Frank Sinatra, whilst remaining synonymous with old-Hollywood glamour and sophisticated musical comedy. Bringing such an iconic piece of musical theatre to a modern audience is no small task, but director Rachel Kavanaugh embraces its classic roots, while giving the material a fresh lease of life.

Call The Midwife’s very own Helen George takes centre stage as Tracy Lord, bringing plenty of charisma, elegance and attitude to a woman caught between the expectations of society and what she actually wants for herself. We are thrown right into the depths of her situation from the offset, and this is the driving force for the play's narrative. George must be commended for her delivery of Tracy’s comedic moments, whilst also providing the character enough vulnerability to allow her journey to feel more than simply a glamorous love triangle. George’s voice stuns the theatre through songs including ‘Let’s Misbehave’ and ‘It’s All Right With Me’, showcasing her impressive vocal range and effortless ability to bring both glamour and emotion to Tracy Lord.

Julian Ovenden is also particularly impressive as Dexter Haven. There is an effortless charm to his performance, and his vocal performance brings a wonderful old-school musical theatre quality to the role. Despite Dexter not being Tracy’s (current) fiance, George and Ovendon’s undeniable chemistry allow the history and connection of both characters to be so naturally portrayed that the audience cannot help but find themselves invested in the possibility of their relationship being rekindled.

The comedy and quick-witted dialogue are an integral part of what keeps High Society engaging, particularly during some of the slower-paced moments of the narrative. There is a sharpness to the script, with plenty of playful exchanges, dry humour and tongue in cheek one liners that consistently raise a laugh from the audience. A particular moment includes when reporters Liz and Mike (played by Carly Mercedes Dyer and Freddie Fox) are being introduced to the “family” before the wedding of Tracy and George, only to be deceived into believing that Mr Lord was in fact Uncle Willie and vice versa. This moment proved as a standout for the cast as the pacing was exquisite and was packed with punch, leaving audience members in hysterics creating a moment of dramatic irony.

The cast have a strong understanding of the show's comedic timing, allowing moments like these to land naturally without feeling overplayed. At times, the plot itself can feel somewhat slow to move forward, but the humour provides a welcome burst of energy and prevents the narrative from becoming too static.

The biggest achievement of this fresh adaptation has to be Tom Rogers’ set design. As the curtain rises at the top of Act 1, we are greeted with a visually stunning representation of the Lord family’s lavish estate. There is a real attention to detail throughout this scenery, and the overall aesthetic feels like stepping into a world where everyone looks effortlessly fabulous.

Each set piece flies in effortlessly, whilst quickly establishing each new location for the ever-changing narrative. The costumes designed by Jon Morrell are another standout element. The cast feature in beautifully tailored suits, elegant evening dresses and glamorous period styling which provide High Society a real sense of authenticity, while also helping to establish each character and their place within this wealthy society.

A particular mention must go to the under-utilised ensemble members of High Society. Big musical numbers including ‘Now You Have Jazz’ and ‘Let’s Misbehave’ were visually impeccable and left audiences wanting more. Anthony Van Laast’s choreography is slick and polished, yet with this being said, this is one area where I wanted just a little more. With such a talented company and a musical that lends itself so naturally to big, extravagant production numbers, some sequences feel more restrained than expected.

However, ‘Now You Have Jazz’ proves a perfect Act 1 closing number as it provides exactly the burst of energy needed to send the audience into the interval on a high. The choreography feels bigger, bolder and more dynamic, making full use of the ensemble and creating one of the production’s most standout moments. It is therefore a shame that the wider company is not utilised to this extent more consistently, as the energy and scale achieved in ‘Now You Have Jazz’ is something High Society could have benefited from throughout.

Overall, High Society is exactly the kind of show you go to the theatre for when you want to escape for a couple of hours. It is glamorous and charming, and filled with a score that has stood the test of time. It may not always push the boundaries with choreography or vocal performances, however there is something wonderfully refreshing about a production that simply allows its beautiful score, talented cast and old-school glamour to take centre stage.

For lovers of classic musical theatre, Cole Porter or old-Hollywood glamour, there is plenty here to enjoy. Even if you aren't familiar with the original film, High Society delivers a hugely entertaining and glamorous night out, with a cast who know exactly how to deliver the charm.

High Society plays at The Lowry until Saturday 26th September before it continues on its UK and Ireland tour - tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Pamela Raith