HIGH SOCIETY
The Old Vic, London SE1

Opened 14 May, 2015
****

A decade ago at The Old Vic, a revival of Philip Barry’s The Philadelphia Story starring Kevin Spacey went some way towards redeeming his erratic first season at the theatre’s helm; now, although he does not appear onstage, Spacey has chosen the Cole Porter musical version of the same tale as the final production of his artistic directorship. The script’s attitude towards the American moneyed classes may also reflect our own views of the Hollywood star’s time in SE1: beginning with ill-concealed prejudice, then fascinated though still somewhat suspicious, and finally entirely beguiled by the degree to which they really do care.

As bride-to-be Tracy Lord, Kate Fleetwood is more Katharine Hepburn (from The Philadelphia Story film) than Grace Kelly (in High Society’s original 1956 movie incarnation): her primary register is spiky, and then periodically out of thin air she produces a moment of insane and enchanting wackiness. Of the three suitors who coincide to cause assorted hi-jinks in the 24 hours before the wedding itself, Richard Grieve has the most thankless task as humourless scheduled groom George Kittredge. Even Jamie Parker has unexpected touches of stolidity as undercover reporter Mike Connor, chippy and hostile to such wealth and privilege. Matters are ultimately resolved (though also largely fomented in the first place) by Rupert Young as ex-husband C.K. Dexter Haven (the role taken in 2005 by Spacey). A strong supporting cast includes Jeff Rawle as lovable old soak Uncle Willie, Barbara Flynn as the nameless Mother Lord, and a role more or less created for this production, that of pianist/singer Joey Powell; Joe Stilgoe even engages the audience in a warm-up routine before the show proper kicks off.

Maria Friedman’s move from musical theatre performance into direction is only enhanced by her touch here. Like that other musical actor-turned-director Daniel Evans, she takes care to ensure a constant yet unforced vivacity onstage. The household staff are always letting their individuality show through whether cooking breakfast off to one side (?) of the in-the-round stage or performing scene-changes, and Nathan Wright’s choreography is synchronised without looking drilled. Even my own usual boredom with the big, wildly prolonged show-stopping routine – in this case to “Let’s Misbehave” – was all but banished.
  
Written for the Financial Times.

Copyright © Ian Shuttleworth; all rights reserved.

Return to index of reviews for the year 2015

Return to master reviews index

Return to main theatre page

Return to Shutters homepage