Review of ‘High Society’ (2026, Barbican): “Flimsy narrative rides high on spectacle, and that’s alright with me”

It is what it is. We couldn’t have asked for more. Or less. And that is fine. In fact, it might be more than fine. Not every musical needs to be poignant, moving, or thought-provoking. And that’s okay. Because this one is nothing of the sort. Still, it works — provided that you limit your expectations to some flamboyant spectacle and tuneful music. And in that last department, you simply can’t go wrong with Cole Porter.

The anticipation is over. High Society has made its way back to the stage. Based on the 1956 movie starring Grace Kelly and Frank Sinatra, the show is guaranteed to meet expectations. It has everything one could wish for from a Golden Age Hollywood musical film. Extravagant numbers, endearing characters, and a plot as thin as it might qualify for enteral nutrition. But if belt-out singing and flashy dancing are all it takes for a show to be in your good books, you’re in for a treat then.

There is money onstage. So much so that it goes above traditional touring production standards. And almost as much to be Barbican-worthy. Perhaps, just enough. On the whole, the scenery is the great winner of the evening. Tom Rogers’s design brims with elegance and opulence, effectively capturing the glitz and glamour of the Lord Manor.

A lavish two-sided marble staircase stands majestically as the set’s central piece. Further elements, ranging from a string-lit willow to a swimming pool’s frame, descend from the rafters as the stage metamorphoses from one scene into another. They do the trick. And for the most part, they do it well, despite this house still featuring some room for improvement.

The visuals are enjoyable. Never impressive, but accomplished, nonetheless. Its problem stems from a slight lack of care during the scene changes. The transitions between the foyer and the remaining spaces are a little clumsy. And sometimes, even lazy.

It may sound like nitpicking, but it’s hard not to point out a flaw that could have been so easily prevented — either with curtains to mask the hall away (if dedication isn’t our forte) or something that complements the main set and transforms it into something else. That’s magic. That’s theatre. And that’s what we come for.

Other than that, the production works beautifully. And its quality is evident. The entire troupe demonstrates ample competence. Their rapport is overflowing. The sense of togetherness pervades every choral number, which is executed with flair and precision.

Some sense of effortlessness is missing, however. The choreographies are visually electrifying, but they don’t fully convey the ease and confidence that confers the numbers that extra sparkle — an issue that might be solved later in the run as the cast internalises them.

Most of the leads do justice to their roles both vocally and interpretatively. Helen George portrays a delightfully naive and instantly likeable Tracy, while Julian Ovenden teems with charm and presence as the disarming Dexter Haven.

Similarly, Freddie Fox brings puckish charisma to Mike Connor, while Felicity Kendal shines as Mother Lord by just playing herself. Malcolm Sinclair makes the only exception as Seth Lord, whose rendition is adequate from an acting perspective, but rather tone-deaf musically.

It’s not the perfect musical. It doesn’t aim to be it. And most importantly, it doesn’t need to. Although its storyline is of the little-one kind, High Society still oozes excellence. Overall, it’s a nearly impeccable performance infused with classic-Broadway splendour, where plain entertainment is delivered in its finest form. Nothing else to say other than, perhaps, “you’re sensational.” There is much to love about a show whose only intention is to amuse and dazzle. So let’s do it. Let’s fall in love.

All pictures credit to Pamela Raith.

High Society plays at London’s Barbican Theatre until 11 July, followed by a UK-Ireland tour. Tickets and upcoming venues are available on the following link.

By Guillermo Nazara