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 (Call the Midwife) and directed by Rachel Kavanaugh whose impressive musical CV includes Clueless the Musical and The Wind in the Willows. sBut in favour of a lurid, 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 supports the cast with all the Cole Porter hits so fondly remembered from the film version, 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. Even the crooners are performed with carefully thought out choreography by Anthony Van Laast (Mamma Mia!), while the full dance routines are all the more vibrant thanks to the swishy circle skirts and costumes of the period styled by Jon Morrell.
All the action takes place in the Lord’s palatial home, with a double staircase and drop down partition to later signify a scene taking place near the tennis court. Helen George plays Tracy Lord, the spoiled blonde socialite who, with one failed marriage behind her, is stubbornly preparing to marry for a second time at the family home 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 1950s musical film version of 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 even if her vocal range might make you question how she was ever cast in the leading role of a musical. Even her American accent sounds like she’s holding her nose to avoid a bad smell.
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 and intonated sniping from the sidelines.
Dexter meanwhile, having heard of Tracy’s imminent wedding has just arrived uninvited in order to put a spanner in the works and this is when the plot gets a little more complicated. Dexter 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 the imaginatively named ‘Spy’ magazine, Liz Imbrie (Carly Mercedes Dyer) and Mike Connor (Freddie Fox) snooping on the wedding. 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 honey tones, neither can any other member of the cast.
With a 28-strong ensemble cast, other characters include 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 plotline that’s typical of the romantic comedies of the 1950s. 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 probably already familiar with the plot in any case.
George, who couldn’t be more different to her daughter’s dashing sea-faring ex-husband, CK Dexter Haven (Julian Overdon), is 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. Well timed for the summer season, the 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.
