Book: Arthur Kopit
Music & Lyrics: Cole Porter
Director: Rachel Kavanaugh
Philip Barry’s 1939 play The Philadelphia Story has spawned a smash-hit movie in 1940 starring Katherine Hepburn and Cary Grant as well as the beloved 1956 movie musical High Society, starring Grace Kelly, Frank Sinatra and Bing Crosby. So it is astonishing that a stage musical version took until 1998 to appear on Broadway.
It closely follows the movie musical version. We join the action on the eve of Long Island socialite Tracy Lord’s (Helen George) wedding to the reliable but unremarkable George Kittredge (David Seadon Young. A spanner is thrown firmly in the works when Tracy’s debonaire ex Dexter Haven (Julian Ovenden) appears on the scene, an ex for whom the flame still burns bright. Thrown into the mix are Tracy’s sparky mother (Josefina Gabrielle), wickedly witty Uncle Willie (Nigel Lindsay), many a mistaken identity, while all the shenanigans are documented by writer Mike Connor (Freddie Fox) and his photographer Liz Imbrie (Carly Mercedes Dyer) from glossy scandal rag, Spy.
The champagne sparkle and fizz, easy fun and insouciance of the 50s is perfectly encapsulated here, in no small part helped along by the Rolls Royce casting. The incandescent Grace Kelly’s shoes are hard ones to step in to, but Helen George imbues the role of Tracy with an irresistible charm. Julian Ovenden as Dexter Haven is a hugely experienced, highly regarded leading man with an impressive pair of pipes which resonate to the rafters in the auditorium. In support, Nigel Lindsay as incorrigible Uncle Willie, has the lion’s share of the laughs with West End vet Josefina Gabrielle leaving an impression with her witty one-liners as Mother Lord. Carly Mercedes Dyer sparkles as Liz Imbrie, but is is Freddie Fox, in his musical theatre debut, who surprises most, his impressive vocals are a perfect match for his acting skills. The entire company are perfection personified, as exemplified in the big set-piece number Let’s Misbehave and the rich-sounding orchestra is the icing on a very wonderful cake.
Tom Rogers’ grand and gorgeous set, perfectly complimented by Howard Hudson’s lighting are the ideal, classy backdrop on which to play out the action. Jon Morrell’s costumes are worthy of note too, epitomising the glamour of this golden era.
It is a cliché to say that they don’t make them like this anymore, but it is entirely true. This is as perfect a productiob as you could wish for.
Runs until 5 September 2026 | Image: Pamela Raith
