You may not be familiar with the 80’s genre known as ‘sophisti-pop’, though everyone remembers bands like The Blow Monkeys, Swing Out Sister, ABC, The Style Council, and Prefab Sprout. What united these apparently disparate artists was a winning combination of polished melody, and clever lyrics. Paddy McAloon, driving force of the latter, appeared to have arrived from an entirely different era, creating music which seemingly had more in common with the great American songbook than mainstream British music. Songwriters like George Gershwin, Irving Berlin, and arguably the pack leader, Cole Porter.
I mention this because those with modern tastes might feel a musical this old is of no relevance. But Cole Porter’s timeless songs have never gone out of fashion. This Barbican Theatre production doesn’t reach the rarefied heights of the 2021 Anything Goes (also by Porter) but then nothing could. High Society still makes for a fabulous night of escapism.
Helen George (from Call the Midwife) leads a 28 strong cast as glamorous socialite Tracy Lord, joined by musical stalwarts Nigel Lindsay (Kiss Me Kate), Julian Ovenden (South Pacific), and Carly Mercedez Dyer (who made a strong impression in Singing in the Rain at the Royal Exchange a few years ago, and is similarly excellent here). You could write the plot on the back of a champagne coaster: as plans for the society wedding of the year slowly descend into chaos, where old and new flames jostle for attention. All the while, a sharp eyed tabloid reporter sneakily hunts for a scandalous expose at this opulent, waterfront mansion.
High Society has always been a prestige affair. Its origins go back to the 1940 film The Philadelphia Story – which starred Cary Grant, James Stewart and Katherine Hepburn – widely regarded as one of the best of the so called ‘screwball comedies’ (which were characterized by sexual politics, and fast paced dialogue). The original play was by Philip Barry, and this touring adaptation is by the late Arthur Kopit, for whom I will always have a soft spot, mostly because he wrote Oh Dad, Poor Dad, Momma’s Hung You in the Closet and I’m Feeling So Sad (that was eventually turned into a movie, and featured famed screwball actress Rosalind Russell). The 1956 High Society starred Frank Sinatra, Grace Kelly, Bing Crosby and Louis Armstrong.
All of this pop culture trivia might be squishing your head. The point being that these performers cast a long shadow but director Rachel Kavanaugh isn’t easily fazed. Helen George has been in Call the Midwife since 2012, so there’s an element of letting loose in her performance, after years of being constrained by a signature role. She’s a strong singer and dancer, and brings a smart, controlled physicality to the part which put me in mind of a zany flamingo, if one can imagine such a thing. Freddie Fox has the best name in showbiz is rather good as newspaper snoop Mike Connor. Some directors try and conceal non musical performers in shows like this, sticking them at the back of the chorus to hide their left feet but Fox proves a nifty mover (and ‘You’re Sensational’ is one of the highlight numbers). As Dexter, Tracy’s ex, Julian Ovenden is smoother than a Cointreau latte. And as is usually the case with golden age musicals, the supporting players threaten to steal each scene – Nigel Lindsay almost getting away with daylight robbery as flamboyant Uncle Willie.
The flaw in High Society lies in the script. There’s no escaping the fact Tracy’s fiancé George Kittredge is an underwritten role; he exists as a foil, a living breathing reaction rather than a three dimensional person. David Seadon-Young has drawn the short straw here (though his wedding telegram scene is adroitly played). Ultimately, High Society is a love triangle with one side missing, and that translates into zero dramatic tension.
But everyone is here for the songs, and Porter saved his best for High Society: You Do Something To Me, Who Wants To Be A Millionaire. Be A Clown, Well Did You Evah, Just One of Those Things, I’ve Got You Under My Skin – one banger after another. Act Two’s Let’s Misbehave justifies admission alone, a perfect synthesis of music, movement and costume (designer Jon Morrell goes above and beyond for this one). The highest praise a critic can give a show is that they would happily watch it twice. Enough said.
High Society is at Lowry, Salford from 22 September to 3 October 2026 before continuing on tour.