Cole Porter's High Society

By Angie Bedford

High Society

Mention High Society and most people will fondly remember the successful 1956 film starring the soon to be Princess Grace Kelly, along with Bing Crosby and Frank Sinatra.

The film is based on Philip Barry’s play The Philadelphia Story, a hit for star Katherine Hepburn.

The musical, this time presented to us by CLOC Musical Theatre, combines elements of Barry’s original tale with a full Cole Porter score comprising of songs from the 1956 High Society film and Cole Porter’s musical legacy of hits.

It is 1938 and in Oyster Bay, Long Island in New York, the societal wedding of the year is imminent at the Lord family estate.

Beautiful socialite Tracy Samantha Lord (Kelly Windle) is set to marry the dull George Kittredge (Richard Perdriau), to the dismay of her feisty thirteen year old sister, Dinah (Madeleine Corbel) and their mother, the matriarchal Margaret Lord (Anne Pagram), who prefer Tracy’s ex-husband, the charming and witty C.K.Dexter Haven (Trevor Jones).

To Tracy’s displeasure, Dexter sails in on the boat he built for them when they were married.

Dexter warns them that two reporters – Mike Connor (Peter Dennis) and Liz Imbrie (Rachel Juhasz) will be attending the wedding incognito.

Add to this the antics of Tracy’s drunken uncle, the arrival of her uninvited father, and an increasing amount of male suitors chasing the bride to be, and you have the circus that is High Society!

Despite the combination of a much loved play with Porter’s musical genius, the musical itself borders at times as tedious for those unfamiliar with the story.

In the hands of lesser company, High Society’s complexity of the plot and subtle wit could be lost on the audience. I myself recall a talent rich but plain 2004 professional season.

CLOC’s production succeeds in its glamour and superb casting. Tracy Samantha Lord is a polarising character that I find hard to sympathise with for her pretentiousness and folly.

Kelly Windle’s Tracy was much more accessible, contrasting her pretension with wit and intelligence. She showed Tracy’s humanity when inebriated and heartbroken. Windle has a sweet voice; I particularly enjoyed True Love Dexter.

Trevor Jones was fantastic as C.K.Dexter Haven. He was instantly loveable, and had a sublime voice to match it! I loved his interactions with the talented and effervescent Madeleine Corbel as Dinah, who held her own with the experienced adult members of the cast.

Richard Perdriau’s George was as dull as he should be, and he showed off his rich vocals in I Worship You. Peter Dennis did a great job as the quirky Mike. Despite initially writing him off as "dad humour", I found Peter Smitheram’s Uncle Willie consistently humorous and scene stealing. 

Anne Pagram and Pip Smibert, as Margaret and Seth Lord, oozed of Long Island societal haughtiness!

The standout performer for me was Rachel Juhasz as Liz Imbrie. Juhasz looked and sounded every bit the hardened New York gossip reporter, who has a heart of gold. I loved her jazzy voice, on show in He’s a Right Guy. Juhasz also handled an unfortunate (although hilarious) chair malfunction well – if anything it just added to the endearing nature of her performance overall!

The lead cast were complemented well by a slick eight strong ensemble of house staff, who wove in and out of the tale in a clever Greek Chorus style. Their nice harmonies and ability to dance effortlessly whilst juggling props and moving between sets is to be congratulated.

Although this score is not as memorable as the amazing Anything Goes, High Society is spoilt with the sophistication of Cole Porter’s music, directed well by Bev Woodford. I was, however, disappointed that in many cases, the lyrics were inaudible, as the sound of the orchestra muffled the vocals, the balance was just not right.

Tailem Tynan’s choreography is perhaps under credited as ‘choreographed movement’, as the sharp dancing of the ensemble was deceptively complex. Tynan did a great job of recreating 1930s moves, whilst directing her performers around the obstacles of the set. It looked very clever and was incredibly polished and effective.

The defining element of CLOC’s production was the design. The vast Lord estate comprised of lots of marble, set off by beautiful period furniture. Dinah’s bedroom and the gazebo were highlights of the numerous transformations here.

Brenton Staples’ set and Karen Warrington’s properties were consistent with the era, and complemented the gorgeous regal palette of Nancy Matthews’ amazing costume design. Every piece was a work of art, with exceptional detail.

"High Society"

Music and Lyrics : Cole Porter
Book : Arthur Kopit
Directed : Chris Bradtke
Musical Direction : Bev Woodford
Choreography : Tailem Tynan

More Information: www.cloc.org.au