High Society – The Lowry, Salford

Book: Arthur Kopit 
Music and lyrics: Cole Porter 
Director: Rachel Kavanaugh

Having recently been transported back to the mid-2000s with a hugely successful and incredibly memorable (not to mention viral) revival of High School Musical, The Lowry’s Lyric Stage has now been transported even further back in time – to the glamorous 1950s – for its latest musical extravaganza, High Society. 

With the headline star being Helen George (of Call the Midwife and Strictly Come Dancing fame), playing the feisty and free-spirited Tracy Lord and with the release of some striking production shots, it’s safe to say there are high expectations for this revival of the 1956 American musical comedy starring Frank Sinatra, Grace Kelly and Bing Crosby. But beyond the superficiality of some stunning costume designs by John Morrell, this version of the show unfortunately lands a bit flat – with very little wow factor and everything, from choreography to characterisation, played too safe. 

The show, which has come on tour following a West End season, follows socialite Tracy as she is preparing to marry the very serious George (David Seadon Young), to whom she is very ill suited. The night before the wedding, with a little too much champagne on tap and surrounded by family, friends and staff, she finds herself having a romantic dalliance with undercover reporter Mike Connor (Freddie Fox) and ultimately calling off the nuptials to reunite with her wealthy ex-husband Dexter Haven (Julian Ovenden). 

This should be a production, like The Great Gatsby, that takes you on a trip down memory lane with big, bold and memorable musical numbers. It should have you laughing, it should be fast moving and the ensemble moments really should be blowing you away. The musical arrangements should be reworked, with bigger dance breaks put in to ultimately create a spectacle of a show. But while visually very appealing and enticing, there is nothing really beyond that to put this show on the musical theatre map. 

The choreography, bar Let’s Misbehave – which is in fact an enjoyable watch – is simple and won’t be in the least bit stretching for performers of such calibre and with such impressive CVs. And the pace of the dialogue needs to be upped and the rapport between the cast to be strengthened to give the show more memorability. The set too, while initially impressive, doesn’t always make complete sense – the grand staircase acting as a backdrop even when the scene is taking place in the house grounds or by the swimming pool.

That said, there is a catalogue of Cole Porter songs to enjoy – from Who Wants To Be A Millionaire, I’ve Got You Under My Skin, Be A Clown and Let’s Do It – although they are not always delivered with the energy and theatricality they deserve. And the second half of the show does feel more polished and put together than the first. 

But in any revival, it should no longer be about what has gone before. It shouldn’t just be a ‘nice watch’. There are so many companies out there really upping the game, bringing some phenomenal adaptations of shows to stages across the country – and you can absolutely modernise without losing the spirit and charm of the original. Sure, you’ll have a lovely night going to watch a very ‘safe show’, but this one isn’t going to leave you bounding out of the auditorium on a theatre high. 

Runs until Saturday 3 October 2026.