Review: High Society (Touring)

Tuesday 25th August 2026 at Leeds Grand Theatre

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High Society is a musical of the classic, nostalgic variety; a tale of surviving social scandal, romantic disappointments and the weight of life under lofty scrutiny. This tale arrives under direction of Rachel Kavanaugh, with Book by Arthur Kopit and music and lyrics by the great Cole Porter. Previously a film classic and a play before that (Philip Barry’s play “The Philadelphia Story”), the story has earned its place on stage – and while it’s a very tame, of-its-time piece, it holds a timeless charm and plenty of gentle wit. 

Helen George is the impeccably-dressed, stern-mannered socialite Tracy Lord, set to marry the very sensible choice that is George Kittredge (David Seadon-Young) when all plans are thrown up in the air by the arrival of damning news and her slippery old flame, Dexter Haven (Julian Ovenden). To combat the threat of scandal, Tracy must allow two not-so-undercover reporters –  Mike Connor (Freddie Fox) and Liz Imbrie (Carly Mercedes Dyer) – to cover her high profile wedding, and therein lies a ripe batch of farcical shenanigans. 

George is, as ever, a class act and gives the character all the lofty posture required alongside a strong, versatile voice – though I’m not convinced she’s given enough material to give the more emotional plot twists later in the tale real credibility… Ovenden plays the loitering lover well, brooding and poking fun in turn, but never faltering in his warm, charismatic vocals. Having seen Dyer steal the show in Anything Goes a few years ago, it is also a particular joy to see her stealing scenes here with ease (and that wonderfully rich voice). 

Josefina Gabrielle absolutely nails the slightly unhinged brand of aloof motherhood that the wealthy are often prescribed in such stories – “Mother Lord” cares only for survival, and her flailing moments are beautifully balanced with sharp one liners. Naomi Pacquette brings youth and unstoppable gentle rebellion as the youngster of the family, Dinah Lord, while Nigel Lindsay’s Uncle Willie provides plenty of scope for drunken uncle antics.

Cole Porter’s music and lyrics are of course a real highlight – from “I Love Paris” to “It’s All Right with Me” and “Let’s Do It”, there are some real gems here (elsewhere in the score I found myself maintaining my dislike of musical numbers being handed to those who can’t quite carry them, vocally…) Meanwhile, Jon Morrell and Tom Rogers make a feast of costume and set design, giving the production much of its impact and sense of grandeur – from clever conjuring of pool-side set and towering turrets to pleats and ballgowns galore, the show definitely delivers on visual spectacle. Anthony Van Laast’s choreography offers plenty of that spectacle too, particularly in the jazz sequence.

If you love the gentle escapism of a witty, charming farce of yesteryear set to a classic and distinctive score, High Society might be just the ticket for you. 

High Society is at Leeds Grand Theatre until August 29th 2026 – more information and tickets can be found here.