REVIEW: HIGH SOCIETY | THE LOWRY | 22/09/2026
High Society at The Lowry – Love, Laughter and a Little Misbehaving
With a grand mansion, glamorous 1950s costumes and a score packed with Cole Porter songs, High Society has all the ingredients of a classic musical. The new production, starring Helen George, Julian Ovenden and Freddie Fox, has now arrived at The Lowry as part of its UK and Ireland tour.
Despite being familiar with several of Cole Porter's songs, I had never seen the High Society film or a stage production before, so I went into High Society at The Lowry knowing very little about the story or what to expect. Sometimes going into a show completely fresh can be the best way to experience it, and this time it meant that everything from the story and characters to the staging was new to me.
High Society features music and lyrics by Cole Porter, with additional lyrics by Susan Birkenhead and a book by Arthur Kopit. It is based on Philip Barry's play The Philadelphia Story, which was adapted into a film in 1940 before becoming the 1956 musical film High Society, starring Grace Kelly, Bing Crosby and Frank Sinatra.
This new production is directed by Rachel Kavanaugh, with choreography by Anthony Van Laast, and is produced by Howard Panter for Trafalgar Theatre Productions and Brian and Dayna Lee. Following a sold-out season at London's Barbican Theatre, the production is now touring the UK and Ireland.
The story follows wealthy socialite Tracy Lord (Helen George), who is preparing to marry George Kittredge (David Seadon-Young) at her family's grand home in Newport, Rhode Island.
The wedding preparations are disrupted by the return of Tracy's ex-husband Dexter Haven (Julian Ovenden). Although their marriage is over, it quickly becomes apparent that there are still unresolved feelings between them.
Things become even more complicated when reporter Mike Connor (Freddie Fox) and photographer Liz Imbrie (Carly Mercedes Dyer) arrive at the Lord family home. They have been sent by Spy magazine in search of a story about the family, although the Lords are already aware of their real identities.
With Tracy's parents, younger sister Dinah (Imogen Bailey) and Uncle Willie (Nigel Lindsay) also involved, the approaching wedding becomes increasingly complicated as relationships are tested and Tracy begins to question whether she is marrying the right man.
The story itself is perhaps one of the weaker elements of High Society. The plot is fairly thin, and I found the first act a little slow in places as the different characters and relationships were established. Having never seen the film, I was also coming to the story completely fresh, so there were moments when I was still working out exactly where some of the relationships were heading.
I enjoyed the second act much more. Once the wedding celebrations are fully underway, the pace picks up considerably, with the increasingly complicated relationships, comedy and musical numbers giving the production much more energy. This was where I felt the show really came to life.
The production design is one of the strongest elements of High Society.
Tom Rogers' set immediately establishes the wealth of the Lord family, with an enormous mansion façade filling the stage. Two sweeping staircases lead up to a central balcony, while the large archway beneath opens up the back of the stage and gives the set a real sense of depth.
It is an impressive design in its own right, but it also provides multiple levels for the cast to use. Characters appear on the staircases and balcony while the main action continues below, something that works particularly well during the larger ensemble sequences.
Rather than relying on constant large-scale scene changes, the mansion remains at the centre of the design, with different elements introduced to adapt the space as the story moves between locations.
Howard Hudson's lighting works particularly well alongside the set. During the daytime scenes, the mansion is brightly illuminated in warm tones, while blues and purples transform the same space for the evening scenes. The blue light visible through the central arch and windows creates a particularly effective contrast with the warmer lighting across the mansion.
Jon Morrell's costumes complete the 1950s setting. The pastel colour palette works beautifully against the mansion set, with pinks, blues, greens and yellows appearing throughout the ensemble.
The women's full-skirted dresses look particularly effective during the dance sequences, where the movement of the skirts becomes almost part of the choreography. The men's suits complement the softer colours, while Tracy naturally has some of the production's most glamorous costumes.
Anthony Van Laast's choreography initially reflects the more restrained pace of the first act but becomes increasingly energetic as the production progresses. The large ensemble numbers make excellent use of the whole set, with the cast moving across the different levels of the mansion and incorporating the staircases and surrounding space into the routines.
Now You Have Jazz is one of the first-act highlights. The musicians become visible on stage and the number gives the production a welcome burst of energy towards the end of the act.
The choreography really comes into its own during the second act, with Let's Misbehave a particular highlight. The ensemble fills the stage and the movement of the colourful costumes adds to the impact of the number.
Cole Porter's music is naturally at the heart of the production, with the score combining songs associated with High Society with additional numbers from his wider catalogue. Songs include True Love, Who Wants to Be a Millionaire?, Now You Have Jazz, Well, Did You Evah?, Let's Misbehave, Just One of Those Things and I've Got You Under My Skin.
Having never seen the film, I wasn't particularly familiar with the High Society score beforehand, although I recognised several of the Cole Porter songs as the evening progressed. There is plenty of variety within the music, from quieter romantic numbers to the much larger ensemble pieces.
Together, the set, lighting, costumes, choreography and music create a production that looks impressive throughout but really comes into its own during the larger musical numbers.
Helen George leads the cast as Tracy Lord and gives a strong performance at the centre of the production. She captures Tracy's confidence and privileged upbringing while also showing a more vulnerable side as the story progresses.
George is particularly good during the more comedic scenes, especially as the wedding celebrations get increasingly chaotic in the second act. She also has great chemistry with Julian Ovenden, making the complicated history between Tracy and Dexter believable.
Julian Ovenden brings plenty of charm to the role of Dexter Haven and is particularly impressive vocally. His rich voice is perfectly suited to Cole Porter's music, with Just One of Those Things one of his standout moments.
Freddie Fox takes on the role of reporter Mike Connor, bringing plenty of energy and humour to the character. He proves equally strong across the singing, dancing and comedy, while his scenes with Julian Ovenden are particularly enjoyable. Well, Did You Evah? is a highlight for the pair, giving them both the opportunity to showcase their comic timing as well as their vocals.
Carly Mercedes Dyer is excellent as photographer Liz Imbrie and was one of the performers who particularly stood out to me. Her comic timing is brilliant, but she also gets the opportunity to show a softer side to Liz, particularly during I've Got You Under My Skin.
Nigel Lindsay provides many of the evening's biggest laughs as Uncle Willie. He makes the most of the character's increasingly mischievous behaviour as the wedding celebrations become more chaotic, bringing plenty of humour to the role.
Imogen Bailey is another scene-stealer as Tracy's younger sister Dinah. She brings lots of energy and humour to the role, making the most of every appearance and providing some very funny moments throughout the production.
Josefina Gabrielle and Malcolm Sinclair provide strong support as Tracy's parents Margaret and Seth Lord, while David Seadon-Young brings a sincerity to the role of Tracy's husband-to-be George Kittredge.
There are no weak links within the company, and the ensemble also deserve particular mention for the energy they bring to the larger musical numbers. Their vocals and dancing play a big part in making the second act feel so much livelier than the first.
High Society at The Lowry is a beautifully presented production that captures the glamour of its 1950s setting through an impressive combination of set, costumes, lighting, music and choreography.
Although I found the first act a little slow and the story itself fairly thin, the production really found its pace for me in the second act. The comedy becomes stronger, the relationships become increasingly complicated and the larger musical numbers allow both the cast and production design to really shine.
Helen George leads a strong company, with Julian Ovenden and Freddie Fox both impressing, while Carly Mercedes Dyer, Nigel Lindsay and Imogen Bailey provide some of the evening's most memorable moments.
With its impressive mansion set, beautiful costumes, energetic choreography and a score filled with Cole Porter songs, High Society is an enjoyable piece of classic musical theatre that I ultimately enjoyed much more as the evening progressed.
Beautifully staged, wonderfully performed and filled with the timeless music of Cole Porter.
High Society will be at The Lowry until Saturday 3rd October 2026. Tickets are available using the link below.
For more information about the production, including tour dates and show details, visit the official website below.
Photo Credit - Pamela Raith
*Our tickets for this show were kindly gifted in exchange for an honest review.
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