A guide to all the songs from 'High Society'

Cole Porter's classy score includes "Well, Did You Evah!", "True Love", and "Who Wants to Be a Millionaire".

Summary

• The Cole Porter score includes the classics "Who Wants to Be a Millionaire"
• "True Love" and "Samantha"
• The stage musical is expanded with numbers from Cole Porter's back catalogue
• The romantic comedy is revived at the Barbican Theatre this summer starring Helen George and Felicity Kendal

Well, did you evah! Hopefully this July, we won’t collide with Mars because that would put a dampener on Rachel Kavanaugh’s production of Cole Porter’s effervescent High Society (based on the 1956 film) at the Barbican. The show stars Helen George (Call the Midwife, The King and I) as Tracy Samantha Lord and Felicity Kendal (Indian Ink*, Anything Goes*, The Good Life) as her mother, Mrs Margaret Lord.

Based on Philip Barry’s play The Philadelphia Story (filmed in 1940 with Katharine Hepburn, Cary Grant, and James Stewart), Tracy, a beautiful but frosty socialite, is getting married for the second time, to humourless executive George Kittredge. However, she and her ex-husband CK Dexter Haven – the marriage ended due to his drinking and her intolerance for any human weaknesses – still have unfinished business. Thrown into the mix are her estranged parents, the skirt-chasing Uncle Willie, mischievous little sister Dinah, and Mike and Liz from the press, who cast a sardonic eye on the proceedings.

The film starred Grace Kelly, Bing Crosby, and Frank Sinatra, and was framed by Louis Armstrong as himself. While the film took place in the present day, the stage musical is set in 1938. The score for the stage version is expanded with additional songs from Cole Porter’s back catalogue, including some real rarities that are cleverly integrated into the story by book writer Arthur Kopit as if they were always there.

From the original film, the title number, "Little One", "Who Wants to Be A Millionaire", "True Love", "Well Did You Evah!", "You're Sensational", and "Samantha" are all present and correct. (However, the film's "Now You Has Jazz" and "Mind if I Make Love to You" are not included in the stage version).

Read our guide to Porter's delightful songs. There’s no more entertaining way to watch the privileged class enjoying its privileges!

Book *High Society* tickets on LondonTheatre.co.uk.

“High Society” / “Ridin’ High”

In Oyster Bay, Long Island, socialite Tracy Lord is preparing for her second wedding. The Lord family’s servants provide a commentary about the proceedings. The bride has her future all planned out – this marriage will be the real thing and she is riding high. The title song is based on the one from the original film, in which it was performed calypso-style by Louis Armstrong and his orchestra, and “Ridin’ High” was introduced by Ethel Merman in 1936’s Red, Hot and Blue.

“Throwing a Ball Tonight”

Mrs Margaret Lord, mother of the bride, reminds Uncle Willie that he is hosting the pre-wedding ball, which ought to be the grandest party of 1938. This is another number that was first performed by Ethel Merman, in Panama Hattie (1940).

“Little One”

Kid sister Dinah has always been a huge fan of Dexter, Tracy’s ex-husband, who lives in the mansion next door. She questions him as to how he plans to win Tracy back and scolds him for being so immature. He pretends to transfer his affections to Dinah in the meantime.

“Who Wants to Be a Millionaire?”

This question didn’t originate with Chris Tarrant on the ITV quiz show of the same name. Journalist Mike Connor and photographer Liz Imbrie) arrive to cover the wedding – a trade-off for their publication not printing an article about patriarch Seth Lord’s latest affair. Liz is in love with Mike but he treats her as a friend. It must be a terrible nuisance being so rich – “Who wants the bother of a country estate? / A country estate, is something I’d hate!” The conspicuous consumption on show is fairly obscene but this pair of witty outsiders know better than to be jealous.

“I Love Paris”

Tracy and Dinah attempt to intimidate these intruders by performing as caricatures of upper-class eccentricity, introducing themselves with French accents and singing a paean to the City of Light. The cabaret-style number was introduced in Can-Can (1953).

“She’s Got This Thing”

Uncle Willie is pretending to be Seth in order to keep up appearances in the father of the bride’s absence. Liz questions him about the dancer with whom the real Seth is having an affair. Uncle Willie has always had an eye for the ladies and is happy to elaborate with this upbeat tribute to female beauty that was written for Fifty Million Frenchman (1929).

“Once Upon a Time”

This ballad, sung by Dexter, positions Tracy as a fairy-tale princess on a pedestal who is inaccessible to mere mortals. It was written for a proposed 1933 show that didn’t come to fruition and was never published or performed in Porter’s lifetime.

“I’ll Worship You”

We haven’t mentioned George, the groom, yet. He expresses his admiration for Tracy in the most emphatic terms. However, Tracy doesn’t want to be worshipped. She wants to be loved. The number was introduced in Fifty Million Frenchmen in Boston but was dropped before Broadway – like the previous number, it fits in perfectly.

“Once Upon a Time” (Reprise) / “True Love”

Tracy engages in some soul searching. In this Oscar-nominated duet, she and Dexter reminisce about their honeymoon on the yacht True Love (“My, she was yar!”), when they were happy and relaxed together and they believed that “You and I have a guardian angel / On high, with nothing to do / But to give to you and to give to me / Love forever true”. She is confused by the way in which she still has feelings for Dexter, plus she’s developing an attraction to Mike – yet she’s supposed to be marrying George tomorrow. End of Act I.

“High Society / “Let’s Misbehave”

There’s no relief for the staff as the pre-wedding ball gets underway. Tracy indulges in champagne and is scolded by George. She encourages him to let his guard down and misbehave (“They say that bears have love affairs and even camels / We’re merely mammals!”). Uncle Willie is all too happy to get in on the act – and so is Margaret. This jazzy number was originally written for Porter’s 1927 musical Paris but was dropped for “Let’s Do It, Let’s Fall in Love” – however, it went on to become a popular standard in its own right.

“I’m Getting Myself Ready for You”

Uncle Willie is on the prowl and has Liz in his sights. She humours him while trying to keep his wandering hands at bay. Originally from The New Yorkers (1930).

“Just One of Those Things”

Dexter is in a pensive mood, with this lovely standard first heard in Jubilee (1935). His relationship with Tracy was great fun while it lasted but it’s all over now.

“Well Did You Evah!” / “You’re Sensational”

What a swell party this is! Led by Tracy, the partygoers indulge in champagne-fuelled gossip and high spirits. She and Mike find themselves alone and he tells her just how sensational he thinks she is. They head off together to go swimming.

In the film, “Well Did You Evah!” is a classy moment of bonding for Dexter and Mike, and provided Bing Crosby and Frank Sinatra with their first and only big-screen duet. Fun fact: it was recycled from Du Barry was a Lady (1939), where it was introduced by Betty Grable and Charles Walters, who went on to direct High Society, as well as Easter Parade, Lili, and The Unsinkable Molly Brown.

“Say it with Gin”

The party continues and Uncle Willie informs Dexter than Liz can’t leave him alone. The secret to his success is his confidence, boosted by gin. However, it was booze that broke up Dexter and Tracy’s marriage. Meanwhile, Seth and Margaret head to the greenhouse together to rekindle their marriage.

“It’s All Right with Me”

“It’s the wrong time and the wrong place / Though your face is charming it’s the wrong face…” Tracy is strangely attracted to Mike but there’s someone else she can’t forget. In the morning, she panics over what might have happened the night before – it transpires that Mike put her to bed and left her there after their swim. This wistful ballad was first heard in Can-Can.

“He’s a Right Guy”

Liz observes the attraction between Mike and Tracy. It isn’t the first time she’s been ignored by him but she still believes that he’ll eventually prove that he’s the right guy for her and reciprocate her feelings. This is another Ethel Merman-originated number, from 1943’s Something for the Boys.

“Samantha” / “True Love” (reprise)

Tracy ends things with George (who is disappointed in her behaviour but is willing to take her back) and she and Dexter finally reconcile. The guests have arrived and everything is ready to go, so there’s no point in wasting a perfectly good wedding. He serenades her with “I Love You, Samantha” (her middle name). Mike realises that he really does love Liz and they make their relationship official. True love conquers all!

Book High Society tickets on LondonTheatre.co.uk.

Photo credit: Helen George (courtesy of production)