High Society: A Great Mix of Frivolous Fun, Magical Music & Hollywood Glamour

Congress Theatre, Eastbourne
Showing until November 14th

There’s a great mix of frivolous fun, magical music, and Hollywood glamour in the Cole Porter revival of High Society, which received a standing ovation when I attended the matinee at the Congress Theatre, Eastbourne, on Wednesday.

It’s an all-singing, all-dancing musical comedy that pays a fitting tribute to the classic 1956 film, starring Bing Crosby, Frank Sinatra and Grace Kelly. The musical itself first premiered on Broadway in 1998, with a book by Arthur Kopit.

A talented cast does justice to Cole Porter’s music and lyrics, which include ‘Who Wants to be a Millionaire?’, ‘‘Well, Did You Evah’ and ‘You’re Sensational’.

The aptly-named show is set in the palatial home of an American heiress on the eve of her wedding.

Call the Midwife star Helen George, as 1930s society girl Tracy, comes close to matching the emotional depth shown by originator Katharine Hepburn (in The Philadelphia Story) and Grace Kelly in the High Society movie. Although she does not fully show just how spoilt Tracy is meant to be, Helen gives a vibrant and vivacious performance. She perfectly portrays Tracy’s beauty and flirty remarks, showing why the three leading male characters are captivated by her.

She’s due to marry humourless, deadly dull accountant George Kittredge (David Seadon-Young). He is the exact opposite of her ex-husband Dextor, now a reformed alcoholic. Julian Ovenden (Bridgerton, Downton Abbey, The Crown) is suitably suave and sophisticated as the charismatic Dexter. Ovenden also gives anexhilarating rendition of ‘Just One of Those Things’./div>
Undercover reporter Mike Connor (Freddie Fox), who falls for Tracy, and photographer Liz Imbrie (Carly Mercedes Dyer), who fancies Mike, add greatly to this nocturnal romp. Fox (Slow Horses, House of the Dragon) makes an excellent musical theatre debut as the unpredictable Connor, and Mercedes Dyer is equally impressive.But even their input, and that of Nigel Lindsay, Josefina Gabielle, Malcolm Sinclair, Naomi Pacquette, and James Hume, cannot fully compensate for Arthur Kopit’s light, sometimes disjointed storyline. His script does, however, provide wit and charm, which is brought out by director Rachel Kavanaugh.The orchestra, under the supervision of Stephen Ridley, and the choreography of Anthony Van Laast, both contribute greatly to a sparkling celebration of musical theatre.Tickets on sale here.

 

All photos © Pamela Raith Photography

 

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  • Tony Flood
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