'High Society' review — this glamorous Cole Porter musical is a fizzy, fabulous summer party

Read our review of High Society, starring Helen George, Julian Ovenden and Freddie Fox, now in performances at the Barbican to 11 July.

Summary

• Cole Porter musical High Society gets a lavish revival at the Barbican
• Call the Midwife's Helen George stars as icy socialite Tracy Lord
• Freddie Fox is a revelation in his musical theatre debut
• The glamorous production features sizzling choreography and lush design

Well, did you evah? The Barbican continues its joyous run of Cole Porter musicals (following Anything Goes and Kiss Me, Kate) with the fabulously glamorous High Society. There’s romantic drama, bon mots galore, design to die for, and another salient reminder that with his combination of waspish wit, heartache, and indelible tunes, Porter remains a songwriter supreme.

The enjoyably featherlight plot centres on icy socialite Tracy Lord. She’s preparing to wed the dull-as-ditchwater accountant George, who her family despises or simply dismisses. As one character interestingly notes, it’s not a question of class but of intellectual snobbery: he’s a humourless bore, which in this milieu of mile-a-minute wags is a cardinal sin.

But, of course, the nuptials won’t go to plan, thanks to the surprise return of Tracy’s first husband, dashing yachtie Dexter Haven, and the invasion of tabloid interlopers: journalist Mike Connor, who takes a shine to Tracy, and photographer Liz Imbrie, who yearns for Mike. Cue farcical antics, amorous crossed wires, and a nocturnal romp amid fairy-light-bedecked trees to rival A Midsummer Night’s Dream.

There is, too, some wistful poignancy in Rachel Kavanaugh’s assured production, which reflects on second chances – whether a reformed Dexter admitting his drinking torpedoed his marriage, or Tracy’s parents finding their way back to one another following a scandal. The prevailing message – that women should forgive the frailties of men – hasn’t aged well, but at least it’s couched in humane warmth.

As Tracy, Call the Midwife star Helen George follows in the intimidating footsteps of originator Katharine Hepburn (in The Philadelphia Story) and the High Society movie’s Grace Kelly. She lacks their facility with a sardonic one-liner, and the emotional extremes of Tracy’s arc (from wearing her perfectionism like armour to letting loose in Champagne-fuelled abandon) don’t fully land, but she’s a charming presence and supplies some terrific physical comedy, at one point twirling manically like she’s in a Kate Bush video.

Julian Ovenden, a truly great interpreter of Porter, supplies magnificent vocals, as does the always brilliant Carly Mercedes Dyer, who stops the show with her soulful “I’ve Got You Under My Skin”. Meanwhile Freddie Fox, making his musical theatre debut, is an absolute revelation: not just a wonderfully charismatic, wisecracking Mike, but an able mover and excellent singer. His two duets – with Dyer on “Who Wants to Be a Millionaire?” and with Ovenden on “Well, Did You Evah!” – and solo “You’re Sensational” are all knockouts. There’s also delightful support from a roguish Nigel Lindsay and droll Felicity Kendal.

This lavish revival packs in even more Porter hits, some redundant, others a real boon, especially the swinging “Now You Has Jazz”, which builds into a sizzling dance number (buoyant choreography by Anthony Van Laast). The ensemble are terrific throughout, playing both toffs and eye-rolling staff, and aiding sleek scene changes.

Tom Rogers’ utterly lush set features two cascading staircases, a swimming pool with marble columns, and a table heaving with expensive tat – a hysterical sight gag – while Jon Morrell’s rainbow-hued costumes are simply delectable. This swellegant, elegant party is gloriously fizzy fun: a much-needed dose of summer escapism.

High Society is at the Barbican to 11 July. Book High Society tickets on LondonTheatre.co.uk

Photo credit: High Society (Photos by Pamela Raith)