While settling into my seat at The Lowry, I overheard a fellow theatregoer whisper, “I hope it’s as glamorous as the film.” It was an understandable thought, but from the second the music kicked in, it was obvious we were in for something altogether vibrant. Arthur Kopit and Cole Porter’s classic tale of wedding eve chaos, high-class snobbery, and messy romantic entanglements was alive and kicking on the Salford stage, brimming with irresistible charm.
At the centre of the whirlwind is Helen George as Tracy Lord. She tackles the role with poise, giving Tracy a brittle, glittering wit that gradually softens into genuine warmth. Opposite her, Julian Ovenden is effortless as C.K. Dexter Haven, delivering his numbers with an easy charm that anchors the whole story. Freddie Fox brings brilliant comedic cynicism to Mike Connor, matching wits beautifully with Carly Mercedes Dyer’s sensational Liz Imbrie. Their rendition of “Who Wants to Be a Millionaire?” was absolute chef’s kiss. Nigel Lindsay also draws roaring laughs as the delightfully misbehaved Uncle Willie; his immense stage presence carries a marvellous sense of grandeur, even while pottering about as the family’s (at times) high-functioning drunk. A special nod must go to James Hume, who my mum immediately recognised and loved from Top Hat earlier this year at The Lowry; he is a terrific presence and an absolute joy to watch.
Beyond the star names, what truly carries the evening is the sheer joy coming from the whole company. High Society is an exhausting, relentlessly fast-paced musical, yet the cast fling themselves into Anthony Van Laast’s lively choreography with huge enthusiasm. You could tell how much every performer loved being out there, and that fun swept right across the auditorium.
Backing up the high energy is Tom Rogers’ clever set design. The person sitting to my left spent the interval remarking on just how seamlessly the Lord family estate shifts from grand terrace to intimate parlour, and they were spot on. The smooth changes keep the story moving briskly without breaking the spell for a single second, framed by lovely period costumes and crisp lighting.
Rachel Kavanaugh’s production is a joyful, champagne-soaked triumph that brightens up Salford. It leaves you humming Porter’s classics long after the final bow, having watched a company having the time of their lives. Glorious.
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Review by James
For Canal Street Media