HIGH SOCIETY

Is the chorus right?  Has this musical ‘Got that thing’?  High Society, which is running all week at the WMC, is a saunter back in history to a pre-war period when the idle rich could squander their time on the vagaries of love and marriage.  Such an outdated plot needs something special to lift the interest level and this version of the musical has found ‘that charm’ to do just this.  The difficult to please socialite Tracy Lord played by Sophie Bould is about to embark second marriage to the insipid but worthy George Kittredge (Keiron Crook) after a divorce from the exciting but flawed jazz musician Dexter Haven played by Michael Praed.  What follows is a tale of deception, intrigue, attempted matchmaking and scandalmongering until Tracy sees the error of her ways and has to choose between three suitors including her ex husband.  At times the play flags with the convoluted plot and it becomes increasingly difficult to distinguish one beau from another.  However, all is not lost.  The charm of the musical is largely due to the clever set and lighting, the extravaganza of the support actors and the arrangement of some very catchy tunes by Cole Porter which have withstood the test of time.  The sight of the housemaids, butlers and houseboys skilfully dancing, tapping and conjuring with exuberance and flair quickly concentrates the mind again when you really have ceased to care who Tracy marries!  From the smoky screen in the first act and the clean lines of a set that conjures up blue skies, warm seas and wealth we are immediately transported to 1930’s America.  The household staff, immaculate in black and white make a vibrant entrance singing ‘High Society’ while Katie Lee as Dinah Lord, a rather irritating meddler, quickly introduces the theme with just the right amount of artificiality and bounce.  After its first entrance the set and lighting play an ever more important part in the mood and pace of the plot.  There is never any delay in scene changing.  In fact it’s a chance to look forward to another display of sleek, seamless, tapping, singing and dancing by the support cast as they reprise such classics as ‘Ain’t misbehavin’ and ‘Who wants to be a millionaire?’  The mood lighting supports and enriches the songs of the lead actors.  George is perfect in his shallow adoration of Tracy who expects nothing less than to be ‘put on a pedestal’.  Meanwhile, as the colours deepen and darken, ‘True Love’ becomes utterly believable as Dexter demonstrates his tender, deep love for Tracy.  The clever scenery changes and ever more lighting variations continue apace in the second act culminating in a finale that lifts the spirits and bring the whole cast on stage in a delightful, smooth, versatile and beautifully choreographed dance piece that has been directed to celebrate all that is charming in this musical.

Patricia Roper