There is a reassuring confidence to this new production of High Society at the Barbican. Rather than attempting to radically reframe a well-loved property, director Rachel Kavanaugh and her creative team trust in the enduring appeal of the material: Cole Porter’s exquisite score, the brittle wit of the book, and the irresistible pull of the story. The result is a revival that feels both respectful and thoroughly invigorated.
High Society follows socialite Tracy Lord on the eve of her meticulously planned wedding. Into her rarefied Newport world come two disruptive forces: her charming but unreliable ex-husband Dexter Haven and tabloid reporter Mike Connor, who arrives to cover the event but finds himself drawn into Tracy’s orbit. As old tensions resurface and new attractions ignite, the façade of perfection begins to crack, forcing Tracy to confront her own expectations of herself and others.
Helen George anchors the production with a finely judged Tracy. She carries the character’s status effortlessly, yet allows glimpses of vulnerability to break through the polished exterior. Crucially, she avoids playing Tracy as aloof; instead, there is a sense of curiosity and playfulness that makes her journey both engaging and emotionally credible.
Julian Ovenden proves an ideal counterpoint as Dexter Haven. His performance is marked by an easy, unforced charm, and he wisely underplays moments that might otherwise tip into sentimentality. Vocally, he is in magnificent form; “Just One of Those Things” stands out as a highlight of the evening, delivered with richness and control. The chemistry between Ovenden and George gives the central relationship a believable history, lending weight to the production’s emotional core.
Freddie Fox, making his musical theatre debut, is something of a revelation as Mike Connor. Known primarily for his work on screen and in straight drama, he transitions into the demands of musical theatre with impressive assurance. Not only are his vocals refined and confident, but his performance is rich in detail, shaping Connor as an incisive observer who gradually becomes emotionally entangled in the world he initially critiques. It is a debut that suggests a natural musical theatre instinct, marrying acting intelligence with genuine vocal ability.
Carly Mercedes Dyer’s Liz is equally deserving of praise, bringing depth and warmth to a role that can easily feel secondary. Here, she emerges as a quietly commanding presence, grounding the surrounding glamour with emotional honesty. Dyer’s performance is marked by a natural ease, her vocals both secure and expressive, and her musical moments are delivered with real assurance, including an excellent rendition of “I’ve Got You Under My Skin” that quietly becomes one of the evening’s standout numbers. Her interactions, particularly with Fox, are imbued with a believable intimacy.
Around them, the ensemble operates with precision and style, but it is Felicity Kendal who repeatedly steals focus in her brief appearances as Mrs Lord. Drawing on a long and distinguished comic heritage, Kendal demonstrates impeccable timing and an instinctive understanding of how to land a line. Each entrance is met with palpable audience anticipation, and she more than delivers, eliciting warm, often spontaneous laughter without ever overplaying the moment. It is a masterclass in economy and control, and a reminder of just how effective great comic acting can be.
Visually, the production is a treat. Tom Rogers’ set establishes an elegant Newport mansion without excess, while Jon Morrell’s costumes and Howard Hudson’s lighting work in harmony to convey understated wealth. Scene changes are handled smoothly, creating a sense of fluidity despite the largely static central design.
Musically, the show consistently bubbles with charm. Porter’s songs are given space to shine, and under the musical supervision of Stephen Ridley, the full orchestra delivers them with warmth and clarity. At its best, the evening positively fizzes with champagne-bright sophistication, nowhere more so than in “Who Wants to Be a Millionaire?”, a number that perfectly captures the production’s blend of wit and style.
If there are shortcomings, they lie in the pacing of certain transitional scenes, which can feel slightly functional compared to the vitality of the musical numbers. A handful of supporting roles could also be more sharply defined. However, these moments are fleeting and rarely disrupt the overall flow.
The second half settles into a looser rhythm, allowing both the comedy and Tracy’s emotional arc to deepen. The wedding sequence is particularly well staged, making effective use of the space and ensemble, while the final resolution, though unabashedly romantic, feels earned.
This High Society succeeds not by reinventing the wheel, but by ensuring it turns smoothly and stylishly. It is a production that understands exactly what makes the material endure and delivers it with polish, charm and affection.
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