Most fans of the 1956 film High Society – a who’s who of Hollywood, from Frank Sinatra and Grace Kelly to Bing Crosby – would agree that it possessed a glamour that’s almost impossible to replicate, although Maria Friedman did achieve it in 2015 at the Old Vic with her dreamily nostalgic in-the-round production.
I was therefore positively giddy with delight when I heard that there was to be another revival of High Society opening at the Barbican Theatre starring Helen George (of Call the Midwife fame) and directed by Rachel Kavanaugh whose impressive musical CV includes Clueless the Musical and The Wind in the Willows. But alas, due to less than subtle, almost pantomime-esque interpretation which at no point found me laughing, Kavanaugh has failed to capture the pastel coloured allure of the beloved film – a musical take on Philip Barry’s 1939 play, The Philadelphia Story.
From ‘I Love Paris’ to ‘Who Wants To Be a Millionaire’, the 15-piece live orchestra and cast perform all the Cole Porter hits so fondly remembered from the 1956 film, along with some other well chosen songs from the composer’s back catalogue which have been woven into the plot by musical supervisor Stephen Ridley. Each number features the carefully thought out choreography by Anthony Van Laast (Mamma Mia!), while the full dance routines are all the more vibrant thanks to the colourful swishy circle skirts and costumes of the period styled by Jon Morrell.
The action opens in the Lord’s palatial home, with a set consisting of a hallway with a double staircase and landing, and the residence is all a flutter with last minute preparations for the eldest daughter’s ‘High Society’ wedding. Tracy Lord, played by Helen George, is the spoiled blonde socialite who, with one failed marriage behind her, is stubbornly preparing to marry for a second time, even though it’s blindingly obvious to the audience that she’s not in love with the groom. A role originally written for Katherine Hepburn who starred opposite Cary Grant in the 1940 hit film The Philadelphia Story, the part was later adopted by Grace Kelly in the musical film version named High Society. George is wise to steer well clear of impersonating Kelly’s take on the ice princess and adds her own brand of sauciness to the part, although her vocal range might make you question how she was ever cast in the leading role of a musical; her nasal American accent sounds like she’s holding her nose as she prepares to jump from the diving board belonging to the Lord family’s swimming pool.
It also pains me to say that, much as I adore her as an actress, Felicity Kendal’s voice, even when speaking with a mic, sounded weak and slightly crackly, although there’s no doubting her on-stage charisma and inimitable warmth. Kendal is extremely funny as Mother Lord who, practically estranged from Tracy’s father, is none too impressed by her daughter’s groom, George Kittredge (David Seadon-Young), and rivals the late Maggie Smith when it comes to perfectly timed sniping from the sidelines. Seadon-Young is well cast as George, who couldn’t be more different Tracy’s dashing sea-faring ex-husband; a humourless, less than svelte man of finance who insists on classical music over jazz at the wedding reception – cue Porter’s guaranteed foot-tapping ‘Let’s Misbehave’ to conclude the first half when Van Laast’s choreography really has a chance to dazzle.
Julian Ovenden, as Tracy’s ex-husband CK Dexter Haven, is the real star of this show, and frankly puts the other members of the cast to shame with faultless vocals. Having heard of Tracy’s imminent wedding, Dexter arrives at the Lord’s mansion uninvited in order to put a spanner in the works, and this is when the plot gets a little more complicated. He explains to Tracy and Mother Lord that the newspapers are ‘on’ to Mr Lord’s affair and the only way to stop them publishing all the lurid details is to agree to two reporters from ‘Spy’ magazine, Liz Imbrie (Carly Mercedes Dyer) and Mike Connor (Freddie Fox) snooping on the wedding, all whilst posing as long-lost members of the family. Given that this is the first time that Fox has starred in a full stage musical, he is a magnetic part of the ensemble and moves proficiently, with exceptionally good comic timing. Whilst he can’t compete with Ovenden’s honeyed tones, neither can any other member of the cast.
This 28-strong ensemble cast is often strongest when the lesser characters take centre stage, not least Tracy’s know-it-all but cute younger sister Dinah (Naomi Pacquette) who delivers snappy lines and is unable to hide her loathing of George, soon to be her brother-in-law, and the alcoholic Uncle Willie (Nigel Lindsay) whom Tracy insists pose as her absent father in another tangled plot that’s typical of any romantically-angled movies of the 1950s and always seem to have a case of mistaken identity. Perhaps fearing that no one would be able to follow, Kavanaugh’s heavy-handed direction has resulted in a ‘he’s behind you!’ style of comedy which patronises the audience who, when I attended a recent matinee, were far from young and were no doubt already familiar with the script. Timed for the summer, this production will embark on a 20-week UK and Ireland tour following the Barbican run. Take your sunglasses and pretend you’re eight-years-old.
High Society at The Barbican until Saturday 11th July. Running time approximately 2 hours 30 minutes including an interval. For more information and tickets please visit the website.
Photography by Pamela Raith.
