High Society

This sparkling musical is distinctly easy on the ear, as are all Cole Porter shows.   It grew from the original film (1956) starring Sinatra, Crosby and Grace Kelly and premiered on stage on Broadway in 1998.    I must admit to a bias for Porter and have long considered him to be the most accomplished writer of songs and lyrics of the 20th Century.   I arrived at the theatre hoping to be royally entertained by the show and entertained I certainly was.

The plot, in truth, is somewhat lightweight and is set in Long Island in New York State.   It revolves around socialite Tracy Samantha Lord and her proposed marriage to George Kitteridge, a wealthy industrialist.   Various deceptions are plotted and unravelled before Tracy finally decides instead to remarry her former husband Dexter and all ends happily.

Emily Bastin in the lead role of Tracy sparkled throughout.   She was a striking figure, elegant and graceful with huge stage presence and a fine voice.   Her opening songs "High Society" and "Ridin' High" with the servants (dressed like the Nippies of Lyons Corner House fame) with their feather dusters, set the tone for what followed.

Ziggy Zafranski carried great charisma as C.K. Dexter Haven and gave a well judged performance, singing several of Porter's great songs with panache and charm.

Valerie Carr and Steve Nottage as the hapless reporters from a society magazine, Liz Imbrie and Mike Connor, both gave strong performances in those pivotal roles.   The well loved "Who wants to be a Millionaire" with the servants was splendidly performed.

Ken Smith was an engaging and flirting Uncle Willie, posing as Tracy's father and very much enjoying the role.   He had much of the humour and played it for all it was worth.

David Anderson was a suitably pompous and indignant George Kitteridge, singing his song "I Worship You" with great emotion.

Annie Genower as Mother Lord gave a strong performance firmly in charge of the various servants and made much of the reprise of "Ridin' High" with the staff.   Iain Cannell did well as Seth Lord, Tracy's real father, posing as Uncle Willie.

Last among the principals, but certainly not least, was 12 year old Rose Burden, playing the part of Dinah Lord, Tracy's sister.   She shared the role in alternate performances with her best friend, 13 year old Katie Hall.    In Rose, I have seldom seen such assurance and, frankly, star quality in one so young and predict a big future for this delightful young lady.  She sang, moved and acted like an highly experienced performer.   I was introduced to both Rose and Katie after the show and was much impressed by both of them, such good examples in their attitude.

These nine excellent principal roles, a talented chorus and the nine piece band did Director Bee Cassidy, her Musical Director husband Nigel Cassidy and choreographer Lyn Menzies really proud.  

The singing generally was of a high standard and credit must go to Nigel  for this and also for the great support given by his band, never drowning the soloists as is so common in amateur shows.  Choreography by Lyn was imaginative and suitable for the period with the chorus being really well drilled, which gave a professional feel to many of the numbers.   I will highlight "High Society" with Tracy and the servants, "Who wants to be a Millionaire" with Liz, Mike and the servants, "Tick Tock", "She's Got that Thing" and "Misbehave" with the Staff.    These scenes and both the Act 1 and Act 2 Finales showed chorus work at its best.

The 1938 set comprised a plain backcloth which was used with lighting effects (lighting design was by Tracy Hammell) depending on the scene depicted.    Scene changes were very smooth and efficient, involving the "Nippies" and the three male household staff as part of the stage crew.    Particularly effective were the swimming pool scenes, achieved very simply with a  set of pool-steps, blue lighting and ripples on the backdrop.

Costumes were very suitable and well fitted under the eagle eye of wardrobe mistress Joan Cannell.    Hair and makeup were well up to standard.

All in all this was a  sparkling and energetic production, imaginatively directed with a most talented and enthusiastic cast.

A special mention for the high quality programme and an early NODA award contender, full of cast photos, detailed biographies and a lengthy section on NODA, always a good idea!     There was a heartfelt tribute to the late member Alan Young whom I also liked and knew personally.

Once again, Sue and I were accorded the most warm and hospitable welcome, in particular from the Front of House Manager Michael Beckerman.   The "Nippies" were in evidence before the show, selling programmes and raffle tickets, then selling a welcome ice-cream in the interval!     Unusually, I was taken to meet the company backstage after the final curtain - a charming personal touch by Bee Cassidy, the Director.

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