High Society

In spite of the fact that this show has some exceedingly well known Cole Porter songs, many of which became hits such as “Who wants to be a Millionaire”. “Well did you evah” and “Samantha”, it is rarely performed. If it is a lack of popularity because it does not have the fast moving storyline of many modern musicals then I feel that those who take this view are mistaken and I only wish that people could have seen the wonderful staging of this show by the society.

The opening chorus, aptly named “High Society”, a somewhat difficult number which included a change of costume towards the end, was brilliantly performed with excellent choral singing with well-defined four part harmony. The costume change from excited wedding guests to the surly housemaids and footmen was done with consummate ease, and the spectacle proceeded from there.

Teresa Roberts as Tracy Lord gave a very polished and emotional understanding of her role as the divorcee who did not know whether to marry her humourless and dictatorial fiancé or revert to a reunion with her ex-husband.

These two characters were in complete contrast, Jonny White as CK Dexter Haven, the ex, and Jonathan Bell as George Kittredge commanded their roles as a fun loving romantic and a frustrated social climber who was prepared to fight anyone who disagreed with him.

Beverly Jacques playing Liz and Dean Watson as Mike, the two snooping reporters who had gate crashed the wedding party worked well together, whilst Poppy Liptrott as the scheming Dinah gave a mature performance for her age.

Mother and father of the bride Seth and Margaret Lord (Les Smith and Marilyn Sykes) gave good cameo roles and showed commendable stage presence.

However Chris Wakeford as the woman chasing and hard drinking Uncle Willie stole the show with his humour and antics showing his versatility and change of direction from parts he has previously played.

The chorus work was of the usual high standard with clear diction and tone throughout. This is the result of the hard work put into the music side of this show by Celia Aynsley the Musical Director. Choreography by Gail Renshaw was simple and effective, being complementary to the action.

The entire production was in the very capable hands of Ian Stead whose attention to detail was remarkable, resulting in a completely professional and outstanding performance by the society.

Lighting, scenery and costumes were of the highest order and the whole show was a delight to see.

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