Book: Arthur Kopit
Director: Rachel Kavanaugh
Peppy, fun and surprisingly funny, High Society sweeps into Leeds Grand with glamorous attire, complicated love lives and some of Cole Porter’s finest songs. It’s fast-paced, quick-witted and gloriously light – the sort of musical that simply wants you to sit back and have a really good time.
The story follows wealthy socialite Tracy (Samantha) Lord as she prepares to marry the really rather sensible George Kittredge. Unfortunately, nobody else seems quite as keen on the match. The arrival of her ex-husband Dexter, two journalists determined to get the inside scoop on the wedding and a potential family scandal soon throws everything into absolute chaos. The plot is slight but clever, the individual scenes proving hilarious on more than one occasion, and the brilliant excuses for breaking into song including True Love, Who Wants to Be a Millionaire?, Well, Did You Evah! and Let’s Misbehave are cued perfectly.
Helen George is wonderful to watch as Tracy, finding just the right balance between spoilt socialite and someone you genuinely want to root for. Her singing is fantastic too, clear and very in keeping with the original film. Julian Ovenden is equally lovely as Dexter – suave, warm and vocally superb – and there’s an easy chemistry between the pair that makes you wonder why Tracy ever thought marrying anyone else was a good idea.
Freddie Fox is great fun as journalist Mike Connor, bringing plenty of energy and sharp comic timing, while Carly Mercedes Dyer almost steals the show as photographer Liz Imbrie. Her wonderfully dry delivery lands beautifully and her rendition of I’ve Got You Under My Skin is a real highlight.
Nigel Lindsay also gets some of the biggest laughs as the permanently sozzled Uncle Willie, along with James Hume who plays long suffering butler Chester; he rings every last drop of humour from the part with his comic timing and facial expressions.
Visually, it’s sumptuous. Tom Rogers’ grand mansion set, Howard Hudson’s lighting and Jon Morrell’s gorgeous costumes create exactly the sort of ridiculously glamorous world High Society needs. There’s a real sense of money having been spent, with convincing props and lovely attention to detail. This, perhaps unfairly, means you start expecting everything happening in front of it to be just as polished.
And that’s where the choreography falls slightly short. It’s perfectly enjoyable, but there are so many moments crying out for a big, intricate, showstopping choreography. Maybe Anything Goes has set the Cole Porter bar unfairly high, maybe the Leeds Grand stage is just a tad too petite for the hell to be danced out of the numbers, but the choreographic opportunities are there and aren’t really taken. The ensemble’s timing isn’t always completely bang on either. It’s nitpicky stuff, but against such a beautifully finished backdrop, the occasional lack of sharpness stands out.
That aside, this is a hugely enjoyable production. It’s clever without trying too hard, moves at a cracking pace and has enough charm and genuinely funny moments to carry you through the slightly ridiculous plot. Most importantly, it sounds fantastic, with Cole Porter’s music given exactly the sort of stylish treatment it deserves.
High Society may not quite deliver the choreographic wow factor it could have, but it gets everything else right. Funny, glamorous and effortlessly entertaining, with a terrific Helen George at its centre, it’s a properly feel-good night at the theatre – and very difficult to leave without at least one Cole Porter tune stuck firmly in your head.
Runs until 29th August 2026, before continuing on tour
The Reviews Hub Star Rating
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9
