Review: Hayes Theatre's Latest Offering, HIGH SOCIETY, Proves Cole Porter's Musical is Timeless.

Monday 7 September, 2015, Hayes Theatre, Potts Point

Director Helen Dallimore has drawn together a stellar group of actors and creatives to bring Cole Porter's HIGH SOCIETY to life with lots of laughs and beautiful music. For fans of the movie, this stage musical varies slightly; utilizing additional lyrics by Susan Birkenhead and book by Arthur Kopit and minor variations to background stories but the heart and soul of the love story remains the same.

Tracy Lord (Amy Lehpamer) is the once flighty divorcee socialite preparing for her wedding to the staid George Kittredge (Scott Irwin), an Executive in the Lord family goldmines operations. As Tracy, her mother Margaret (Delia Hannah), kid sister Dinah (Jessica Whitfield) and Uncle Willie (Laurence Coy) prepare for the nuptials, Tracy's ex-husband and neighbor, CK Dexter Haven (Bert LaBonté) returns, by yacht. He brings news that due to her father Seth Lord's (Russell Cheek) indiscretions, she must entertain writer Mike Connor (Bobby Fox) and photographer Liz Imbrie (Virginia Gay) who are intending to write an exposé on the wedding.

Set Designer Lauren Peters has created an elegantly simple set to turn Hayes Theatre's intimate stage into a Long Island mansion with mobile arches and minimal furniture. Porter and Birkenhead's lyrics and the story that unfolds helps paint the rest of the scenes in the audience's imagination. Lucetta Stapleton's monochrome costumes in the first act convey a restraint and conservatism, reflecting the impression that Tracy's impending marriage the "humorless" George Kittredge is more of a strategic move to prove to society that she is no longer the erratic young woman that eloped for her first marriage. Stapleton utilizes various styles from the 1930's for the characters to set the era, from Tracy's soft flowing silk blouse and high-waist loose pants to Liz Imbrie's tailored suit. The monochrome world slowly disappears as Tracy lets down her guard in the second act.

Whilst Cole Porter's iconic music is easily recognizable, Musical Director Daryl Wallis has created beautiful interpretations to suit the 4 piece band and the singers. His arrangements allow the singers to make the well-known works their own such as LaBonté and Whitfield's rendition of Little One which has a much more playful tone than other versions. Wallis has also given True Love a greater depth of meaning with Lehpamer and LaBonté's haunting recollection of their lost love and Gay's deep smoky warm voice is wonderfully showcased in He's A Right Guy

In addition to the magnificent music, the drama and comedy of the work is delightful and ensures that the work remains relevant. The comic timing of jokes and barbs are brilliantly presented and are accompanied by some priceless facial expressions. Of particular note, Lehpamer's expressions as Tracy deals with her ex-husband's continued presence and Gay's perfectly timed response to Fox nearly steals the show. The comedy is enhanced by choreographer Cameron Mitchell's dance and physicality from Uncle Willie's allusion to a Fan Dance and Tracy and the ensemble's Champagne fueled Let's Misbehave.

Lehpamer presents an elegant Tracy that unravels from the impression of a perfect socialite to a woman who finally connects with her feelings and falls in love again. LaBonté shows Dexter has grown up and matured since he was married that he has also has never stopped loving his ex-wife with an exposed honesty when he explains that he can no longer sail the "True Love". Fox gives Mike cockiness, borne out of intelligence rather than money but blindness to seeing Liz as more than a colleague. Gay portrays Liz as the hilariously harassed woman that can't catch the eye of the one she really wants but has a level headed approach to Mike's infatuation with Tracy. Irwin's George is delightfully buttoned up and rigid and Coy employs wonderful physical humor as the lecherous Uncle Willie. In addition to the core characters, it is amusing to see the little sub plot evolve between the hired help, Mavis (Michelle Barr) and Chester (Phillip Lowe), as they make commentary about the people they serve in the musical numbers that cover scene changes and express their opinions through their facial expressions as they look on from the sidelines. The weakest components of the ensemble are Hannah and Cheek. Hannah who presents mother Margaret a little too weak for a Long Island society mother and wife that has been scandalized by her husband's affair and it is unclear whether she advocates the marriage with George or would rather see Tracy back with Dexter. Cheek hasn't been given much to work with as father Seth is kept in the background of the storylines with only a brief moment where Seth and Margaret indicate that they have reconciled.

HIGH SOCIETY is a wonderfully presented musical that will delight fans of the movie and fans of Cole Porter's famous songs will enjoy the new life and added depth in the beautiful arrangements. This story on love, second chances, growing up, and realizing some things are more important than what society thinks is eternal, ensuring that everyone can relate. Even if people haven't had a love that's gone awry, chances are they'll know someone and how often do people do things because it is what is expected of them rather than whether it is something they really want. HIGH SOCIETY examines these, just with better clothes, great humor and fabulous music.

HIGH SOCIETY

Hayes Theatre, 19 Greenknowe Ave, Potts Point

4 September - 3 October 2015

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