Review – High Society – Barbican Theatre, London

A Sparkling Summer Delight Filled with Style, Wit and Musical Charm

High Society arrives in London like a perfectly chilled glass of champagne on a warm summer evening: elegant, effervescent and thoroughly enjoyable. Rachel Kavanaugh’s lavish new production of Cole Porter’s beloved musical comedy delivers exactly the kind of uplifting theatrical experience audiences crave, combining romance, glamour, comedy and a glorious score, in a production that feels both timeless and wonderfully fresh.

Set against the backdrop of a luxurious Long Island estate, the story follows socialite Tracy Lord as she prepares for her wedding while finding herself unexpectedly caught between old loves, new possibilities and the relentless attention of the press. The plot may be rooted in classic Hollywood sophistication, but this production embraces its charm with such confidence and affection that it never feels dated.

At the centre of the production is Helen George, who gives a radiant performance as Tracy. She captures the character’s intelligence, independence and vulnerability with remarkable ease, creating a heroine who feels both glamorous and relatable. George has a natural stage presence that commands attention throughout, while her vocal performance brings warmth and emotional depth to Porter’s magnificent melodies.

She is supported by an exceptionally strong cast. Julian Ovenden brings effortless charisma to Dexter Haven, Tracy’s former husband, while Freddie Fox makes a very impressive musical theatre debut as journalist Mike Connor, delivering humour and charm in equal measure. The chemistry between the principal performers creates genuine emotional investment, ensuring that the romantic complications remain engaging from beginning to end.

“National Trinket”, Felicity Kendal adds considerable class and comic sparkle, while Nigel Lindsay proves an audience favourite, injecting energy and personality into every scene in which he appears. Carly Mercedes Dyer is an absolute delight, lighting up the stage whenever she appears. Combining dazzling vocals with infectious energy and a mischievous sense of fun, she brings an extra sparkle to the production and earns some of the evening’s warmest reactions. The supporting company is uniformly excellent, helping to create a vibrant world that feels alive with movement and excitement. Special mention should also go to Naomi Pacquette who shines as Tracy’s younger sister Dinah Lord.

Musically, the show is a triumph. Cole Porter’s score remains one of the great musical theatre treasures, and this production serves it beautifully.  With some of the lesser-known original songs replaced with classics like ‘I’ve Got You Under My Skin’, ‘Let’s Do It’ and ‘Be a Clown’, song after song is delivered with style and confidence, reminding audiences why Porter’s work has endured for generations. The orchestra, under the expert musical direction of Stephen Ridley, fills the Barbican Theatre with rich, sumptuous sound, giving every number the sense of occasion it deserves.

Visually, the production is equally impressive. Tom Rogers’ design captures the elegance of high society without ever becoming overly ornate. Those sophisticated sets, together with Jon Morrell’s glamorous costumes, and some very inventive staging, work together to create a world of effortless luxury. Anthony Van Laast’s choreography adds further polish, with dance sequences that feel both energetic and refined. Large ensemble numbers are executed with precision and flair, bringing an infectious sense of celebration to the evening that is funny, romantic, visually stunning and musically irresistible.

Perhaps the greatest achievement of this version of the show is its ability to embrace old-fashioned musical theatre values while still feeling relevant to a modern audience. It never attempts to reinvent the material unnecessarily. Instead, it trusts the strength of the writing, the music and the performances, allowing the story’s humour and heart to shine through naturally. It is delivered with intelligence, craftsmanship and considerable affection.

As the curtain falls and the audience leaves with smiles firmly intact it is obvious that the Barbican has another summer success on its hands. Put simply, it is one of the most delightful evenings currently available on the London stage — the sort of show that sends audiences out into the night with a spring in their step and at least one Cole Porter tune stuck happily in their heads.

*****   Five Stars