High Society arrives at the Grand Opera House with plenty of glamour, a stunning set and a celebrated Cole Porter score. However, for those who love the 1956 film, this stage production doesn’t quite recreate the same magic.
Based on The Philadelphia Story, the musical follows wealthy socialite Tracy Lord as she prepares to marry the respectable but rather uninspiring George Kittredge. Her wedding plans become increasingly complicated when her former husband, Dexter Haven, returns and tabloid reporter Mike Connor arrives in search of a scandal.
Visually, the production is beautiful. Tom Rogers’ elegant set immediately transports the audience into the privileged world of the Lord family, with sweeping staircases, stylish interiors and lavish costumes. The transformation between the garden and swimming-pool scenes is particularly impressive and one of the evening’s standout theatrical moments. The scene changes are smooth, imaginative and almost performances in themselves.
Helen George is fantastic as Tracy Lord. Glamorous, confident and commanding, she brings warmth and humour to a character who could easily appear cold or spoiled. She handles the comedy particularly well and has a natural stage presence that holds the production together.
Nigel Lindsay is another highlight as Uncle Willie. Mischievous, energetic and consistently funny, he provides many of the evening’s most enjoyable moments and quickly becomes an audience favourite.
The Cole Porter score naturally offers plenty to enjoy, including True Love, Who Wants to Be a Millionaire?, Well, Did You Evah? and I’ve Got You Under My Skin. There are also several familiar songs that some audience members may be surprised to discover are featured in the production.
That said, the show lacks some of the jazz-infused excitement that made the film so memorable. The presence and musical energy associated with Louis Armstrong are deeply missed, leaving parts of the stage version feeling more like a traditional musical comedy than the vibrant, jazz-filled celebration many will expect.
The principal male characters also struggle to match the magnetism of their film counterparts. Bing Crosby and Frank Sinatra brought enormous charisma, charm and effortless chemistry to Dexter and Mike. Here, despite polished performances from Julian Ovenden and Freddie Fox, neither character feels quite as compelling.
The greatest weakness is the rushed and somewhat watered-down storytelling. Tracy’s complicated relationships with Dexter and Mike need time to develop, but the production moves so quickly between musical numbers and comic situations that the emotional connections are never fully explored.
Most importantly, there is not enough romance between Tracy and Dexter to make their eventual reunion completely convincing. We are told they share a complicated history and lingering affection, but we rarely feel it. Their final decision to reunite therefore appears sudden rather than the satisfying culmination of a love that has survived their separation.
There is still plenty to admire. The ensemble performs with tremendous energy, the choreography is polished, the orchestra sounds wonderful and the entire production looks magnificent. At its best, High Society delivers the escapism, wit and elegance audiences expect from Golden Age musical theatre.
This is a stylish and enjoyable production led by a terrific Helen George and a scene-stealing Nigel Lindsay. But while it looks every inch the lavish society party, it doesn’t possess enough jazz, romance or starry chemistry to rival the enduring magic of the film.
Rating: 3.5 out of 5
Discover more from LoveBelfast
Subscribe to get the latest posts sent to your email.
