A hastily revised performance – what it lacks in substance, it makes up for in vibrant visuals.
High Society is a musical about a wedding, and not much else. Although there is a lot of dialogue, it becomes hard to follow as much of it is irrelevant. The score is full of Cole Porter classics and his signature themes of boats and couples who swap between partners are ever present. It is a time-capsule of a show that had the promise of being a fun night if it weren’t for aspects of sloppiness.
Going into the performance, the audience was not informed that the two leads were being replaced by their understudies. These things happen, but the disappointment was definitely there as this occurred on Press Night and had a knock-on effect that completely affected the quality of the show. Andrew Coshan (as Dexter) fumbled a few lines, but otherwise did an impressive job with the part. Sound issues during the opening number were noticeable as Isabel Snaas’ mic was considerably too quiet to hear. This was fortunately fixed for the rest of the time, but it still didn’t feel encompassing enough and had put viewers on edge from the get-go.
The entire ensemble was stellar, especially when considering that this performance was being led by talented members of the group. James Hume as the butler Chester came out with an unexpectedly strong voice in one of the unforgettable highlights. Snaas had oodles of personality as Tracy, a role which she was entirely suited for. Mike seemed to be the best match for Tracy, but maybe that is due solely to how sensational Freddie Fox is. A complete privilege to watch him live, his rendition of ‘Who Wants To Be A Millionaire?’ was the first standout moment. An incredible debut to musicals, it would be criminal to not cast Freddie Fox in other productions. Carly Mercedes Dyer is distinctive (not only from her intense lime green costumes) and recognisable from her part in Anything Goes.
What Cole Porter does really well is writing great parts for older performers. Even Uncle Willie got his big songs and grand moments. ‘Now You Have Jazz’ doesn’t further the plot at all, but it’s a nice opportunity to include some musicians onstage in a way that makes sense.
The choreography is first-rate, full of skirt-swishing and high kicks, it looks effortless. There is absolutely a sense of party and celebration as every inch of stage is filled. It is completely natural, but not unappreciated to see same-sex dance partners utilised in this show by a gay composer. The only number which was a slight let down was ‘Be A Clown’. To have inspired the iconic routine ‘Make ‘Em Laugh’ from Singin’ in the Rain, it lacked the same enthusiasm.
From the first, the staging was extraordinary. Even the initial backdrop was striking and it was lovely to hear an overture again as so many of the modern musicals are missing them. The costumes were all stunning from a sea of pastels for the day, switching to jewel tones in the evening and Tracy in her palette of pale blue the entire time. There were plenty of petticoats and sparkle to keep anyone distracted and entertained.
High Society is not a flawless musical and this night had its greater share of faults, so it’s impossible to judge the tour as a whole. The parts that are done well are spectacular, but the professional standard is brought down by many factors that didn’t quite cut it. A Cole Porter fan could happily rewatch this show, but as accessible as this story may be, it can be a trifle outdated for the younger audience.
High Society is on at the Edinburgh Playhouse until 12th September before continuing its tour of UK & Ireland.