HIGH SOCIETY

Photographs: Pamela Raith

Once again we as audience are challenged with the task of putting aside our previous experience of a show, this time primarily from two classic movies, both the Philadelphia Story and of course High Society, both populated by major stars in iconic roles. I’m not going to name them and for one very good reason. That reason being that to do so would demean the quality of this production and its cast which arrives on tour after a very successful season at The Barbican in London.

And this is a massive production, lavish in every respect from a full orchestra pit of first class musicians, a colossal and impressively versatile set and lighting to an ensemble of excellent performers who individually give credence to the phrase “triple threat”. This is a quality show on a scale not often seen in touring companies these days, and the expansive stage of The Congress Theatre in Eastbourne is the ideal venue for it, space for Tom Rogers’ finely detailed set but more so for the huge ensemble dance numbers. Anthony Van Laast’s choreography embraces a sense of the contemporary with a sense of period and impressively with moments of pure wit. I particularly enjoyed the company waltzing solo in ballroom hold. Rachel Kavanaugh’s direction has clarity and drive, the gags are delivered sharply, never laboured over and always allowing the principals to move forward, this is after all not a comedy but rather a satire of upper class attitudes and morals. And those morals are tickled with tiny asides like a moment when a male member of the mansion staff is seen dancing with a male wedding guest and the general debauchery at the pre-wedding party, couples flitting around the set in drunken trysts and there are many humorous cameos as the night draw on.

James Hume lends appropriate gravitas to the Lord’s butler Chester, perhaps the classiest character in the story. David Seadon-Young charged with playing dullard George perfectly delivers the part of the jilted fiancé, and Josefina Gabrielle is a delight as the ever so dippy Mother Lord, a very amusing incarnation. Naomi Pacquette’s Dinah is very sweetly and archly knowing child wise beyond her years and Malcolm Sinclair has the stature to play Seth Lord the philandering family patriarch in a role that is barely explored, and in that, the story of his exposure by the gutter press is barely explored throughout.

Into that we have reluctant paparazzi Liz Imbrie and Mike Connor, photographer and aspiring novelist driven to this through lack of recognition. Carly Mercedes Dyer is a class act, hard bitten, and with a tinge of bitterness, in love with Mike but unable to tell him, and boy can she sing, delightful.

Freddie Fox as Mike, well who knew that he can sing! And dance, he brings a glamour to the role and a youthful charm perhaps at the expense of his dissatisfaction of being unrecognised as a writer, but when intoxicated his antics with Tracy are beautifully played but perhaps he could be a little more ernest, more disappointed when sober. And in his final scene he does embody just that.

At the centre of the whole we have the gin soaked Uncle Willie, the major comedy role in the piece and one that could be so easily overplayed. Nigel Lindsay’s performance is measured, he may well be a sot but he can handle his drink and indeed handle his misbehaving family. The comedy is there, of course it is, but it is handled with clarity. Add to this a very fine voice, best seen in the jazz number which one expected to be sung, as in the film, by Mike Connor, Lindsay nails it and delivers one of the high spots of the evening.

There are numbers in this production that have been dropped in from elsewhere, effectively so to drive the narrative forward. I enjoyed Be A Clown but having seen the number start out on a three seater sofa was disappointed not to get “that” sofa moment in the choreography.

Finally to the main love interest in the whole, Dexter and Tracy Samantha, the parts burdened perhaps with the greatest history and largest expectations. Julian Ovenden’s Dexter Haven is every inch right in the role, the quality of his playing matched with a simply soaring voice which he inserts into the part as if bursting spontaneously into song is a totally natural thing to do. But please please please give the man a better model yacht to deliver as a wedding gift, this one looked like the assistant stage manager might have been sent out at the last minute and bought one on Eastbourne pier!

So on to Tracy Samantha Lord, the privileged bride to be, here played by Helen George. Tracy, or Sam, or Samantha, she answers to all three, but answers to nobody it would seem, arrogantly heading up the family and determined to wed George in the crazy hope that it will rid her of her “true love”. She comes to this role on the crest of a very popular TV role where she plays an equally privileged young woman who eventually finds her true self, parallels yes, except in that TV show she does not have to sing or dance. But sing and dance she does and can, the vocal performance is a revelation, her dancing and physicality extraordinary and she bring points of difference to the playing of the part, not leaning on those iconic predecessors, well not a lot.

This is a thoroughly enjoyable feel good evening of musical theatre, not searching for new angles or depths, which maybe it could, but giving audiences plenty to enjoy.

Andrew Kay

10 November

Congress Theatre Eastbourne

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