High Society on George Clooney’s doorstep

Famous as two Hollywood films, this play appeared first as The Philadelphia Story, a 1930s movie with Katherine Hepburn. Most famously though, it was produced as High Society, a 1956 film with Bing Crosby, Grace Kelly, Frank Sinatra and the Louis Armstrong All Stars.

Director Joe Pitcher’s sparkling production here appears to have taken scenes and dialogue from both films, added extras, and even fleshed out the Cole Porter songs written for the film with a few extra gems from the composer. Everything comes together here in a bright, colourful extravaganza of singing, dancing, and acting.

Leading parts are played with great flair by Matt Blaker as Dexter, Heather Jackson as Mother, Victoria Serra as Tracy Lord and Katlo, a delightful portrayal of Tracy’s annoying younger sister. Mathew Jeans did well as Mike Connor as did Laura Tyrer as Liz, the couple sent from Spy magazine to catch the gossip and scandal going on in ‘High Society.’

This production had so many original touches and a large cast and crew making it impossible to mention everyone in a brief review. However, Jason Denvir must be mentioned for his striking, panoramic set which featured a full widescreen backdrop of the Oyster Bay Long Island setting complete with ships floating past and lights on their sails for night-time scenes.

Many scenes and song routines were adapted for this production, notably putting a fresh slant on Did You Evah? for this show. In the film the song was a special routine for Bing Crosby and Frank Sinatra, but here it was slotted neatly into this show.

A four-piece band provided the live music for the many songs, including Just One of Those Things, a Porter favourite that wasn’t in the film.

Maybe the most impressive thing about this production was that although the storyline is familiar, over familiar to many people, this show came across as an all singing, acting, dancing spectacular that actually appeared to be fresh and original.

That was down to the imaginative, creative input by sound and lighting designers, musical director, choreographer, and the performers. And all pulled together and laid out on stage by director Jo Pitcher.

Even right at the end there were innovative touches as Victoria Serra as Tracy went up into the audience to recruit them all as wedding guests.

All that was missing was Bing Crosby and Louis Armstrong singing Now You Has Jazz, but you can’t have everything.

DEREK ANSELL

Join the swell party for this Cole Porter revival

When the Old Vic staged this Cole Porter musical at the end of Kevin Spacey’s reign nearly a decade ago, you sometimes had the feeling that everyone was trying just a little too hard to have a good time. Nothing quite matched the deftness of the singer-pianist Joe Stilgoe’s mischievous jukebox interplay with the audience.

Joseph Pitcher’s revival at the Mill at Sonning, the intimate dinner-theatre venue which has been on a roll with Top Hat and Gypsy, may be less grand, but it’s also a little less frantic. If you’re more familiar with the film and its luscious trio of Grace Kelly, Bing Crosby and Frank Sinatra (not to mention an avuncular Louis Armstrong) you may well be a tad befuddled by the stage version, first seen on Broadway a quarter of a century ago. Apart from hewing closer to the original storyline of the source material, The Philadelphia Story, Arthur Kopit’s book is built around a number of additional songs plucked from different corners of the Cole Porter songbook.

But if, for a moment or two, you wonder why I Love Paris has gatecrashed the party on Oyster Bay, the cast will soon put you at your ease. Matthew Jeans, who looks remarkably like the young, bobby socks-era Sinatra, exudes hard-bitten cynicism as the reluctant society reporter Mike Connor, while Victoria Serra and Matt Blaker are a suave match as the socialite Tracy Lord and her buccaneering ex-husband CK Dexter Haven.

There’s no need to pay too much attention to the convoluted subplots. Better by far to focus on Jaye Elster’s glorious choreography which really does convince us that we are guests at the swellest of swell parties, Jason Denvir’s striking stage design creating a tiled terrace effect against a backdrop of blue water and millionaire boats. The pianist Tom Noyes mingles with the actors while directing a small yet potent quartet which adds swing of genuine pit orchestra dimensions.

Let’s Misbehave sets the tone for the second act. As the plutocrats go about their revels, the Botswana-born newcomer Katlo sparkles as Tracy’s waspish little sister, Dinah. Kurt Kansley has all sorts of fun too as the lascivious Uncle Willie. Will Richardson’s gauche striver, George Kitteridge, who is supposed to be on the verge of becoming Tracy’s new husband, is doomed to lose, but Richardson manages to win our sympathy all the same.

CLIVE DAVIS