The Barbican’s new production of High Society offers a polished, visually appealing staging of the Cole Porter musical, but it struggles to generate the emotional heat needed to make its central love story compelling. Directed by Rachel Kavanaugh, the show arrives after the Barbican’s earlier revivals of Anything Goes and Kiss Me, Kate, continuing the venue’s run of classic Porter musicals. This latest production is smooth, elegant and immaculately performed, with strong choreography by Anthony Van Laast and a lavish design by Tom Rogers that captures the pastel opulence of affluent Long Island society.
The story follows socialite Tracy Lord, played by Helen George, as she prepares for her wedding to square, dependable George, portrayed by David Seadon-Young. Complicating matters are her charismatic ex-husband Dexter, played by Julian Ovenden, and undercover journalist Mike, played by Freddie Fox. Although the cast delivers capable vocal performances and the songs remain undeniably charming, the review argues that the production lacks the romantic tension and psychological depth that should animate the plot. The central characters feel underdefined, and the relationships among them do not convincingly suggest desire, conflict or genuine stakes.
The production is praised for its musical strengths, including classic numbers such as Who Wants to Be a Millionaire?, True Love and Now You Have Jazz. These songs are described as heavenly, and the cast’s vocal work is said to be impeccable, with several performers bringing rich, vivid voices to the score. Yet the review suggests that the production’s focus on surface glamour comes at the expense of story and character. Even when the show expands Let’s Misbehave, it is still seen as restrained, nostalgic and overly polished rather than emotionally thrilling.
Felicity Kendal as Mother Lord and Nigel Lindsay as Uncle Willie add some personality to the ensemble, offering sharper character touches than the leads. Carly Mercedes Dyer, as photographer Liz, is noted for giving the proceedings a more skeptical edge, subtly signaling the absurdity of the wealthy world around her. However, the overall tone remains too gentle and too eager to please, lacking the bite and ironic distance that made earlier versions of the story, particularly the film The Philadelphia Story, so memorable.
In the end, the production is judged to be rich in theatrical polish but short on true dramatic fizz. It offers elegance, charm and musical delight, but not the sense of giddy emotional upheaval that the story requires. High Society is running at the Barbican Theatre in London until 11 July and then touring until 14 November.
