High Society at Barbican Theatre

Tracy Lord’s (Helen George) wedding is looming, and none of her family are very happy about it. The charming, but emotionally distant Long Island socialite is about to marry accountant George Kittredge (David Seadon-Young), who isn’t exactly swimming in wit or charm. Then Tracy’s ex-husband, Dexter Haven, turns up. He’s been at sea since the divorce, and now he’s come bearing news. Chaos ensues as identity swaps, old and new sparks, and emotional revelations threaten to overturn the wedding.

At first, High Society risks feeling somewhat uninspired, but it quickly gathers momentum and, particularly in the second half, reveals a surprising degree of emotional depth without sacrificing its fun, frivolous spirit. The set design, brilliantly conceived by Tom Rogers, is remarkable.

Every scene unfolds against the backdrop of a decadent, fully functioning mansion, complete with staircases, windows, and doors. There are plenty of delightful details too, such as the ridiculously opulent table displays (think extravagant busts, glittering tableware, and taxidermy). The lighting by Howard Hudson is also spot on. From watery ripples to accentuate the swimming pool to subtle lighting changes as the sky turns from dark night blue to sunrise red serves to elevate the overall viewing experience.

This rendition of High Society features an expanded songbook, with additional Cole Porter numbers providing fresh material for the show. I’ve Got You Under My Skin gives Liz (Carly Mercedes Dyer) greater context and emotional depth, while Be A Clown (Julian Ovenden, Nigel Lindsay, David Seadon-Young) introduces a new avenue for comic relief. Dinah Lord, the disturbingly wise-beyond-her-years younger sister, has some brilliantly astute lines, including: “People drink to convince other people that they’re happy.”

The costumes, designed by Jon Morrell, are equally impressive. The 1950s are brought to life through block-coloured swing dresses, decadent party gowns, and elegant leisurewear, while every carefully chosen suit, shoe, and glove feels both authentic and gasp-inducing. You can’t help wishing you could take all the clothes home.

Helen George does a wonderful job of bringing emotional nuance to Tracy. She is not a one-dimensional rich girl, but a confident, powerful, and unforgiving woman who, when she feels out of control, sometimes copes by drinking lots of champagne and taking her clothes off.  Nigel Lindsay (Uncle Willie) gives another excellent performance as the gin-swilling uncle who, despite sleazily chasing younger women around the garden and then confidently proclaiming that they were chasing him, somehow still projects a warm, likeable quality that elevates the character beyond mere comic relief. High Society hits a sweet spot somewhere between uplifting and memorable, and will leave you humming the songs as you walk out into the night.