High Society has arrived at The Lowry with plenty of 1950s glamour, sophisticated wit, and old-school musical theatre charm.Â
Set within a wealthy social circle in New York, this iconic musical attracted an audience who, I imagine, have seen the story in one form or another over the years. At the centre is free-spirited Tracy Lord (Helen George), who is preparing to marry George Kittredge (David Seadon-Young), a sensible, albeit rather boring, accountant who her family aren’t particularly fond of.
Things become complicated when Tracy’s ex-husband, Dexter Haven (Julian Ovenden), arrives to warn the family that journalist Mike Connor (Freddie Fox) and photographer Liz Imbrie (Carly Mercedes Dyer) are attending the wedding undercover.Â
It’s a show that feels firmly rooted in the Golden Age of musical theatre, and for the most part, it embraces that style rather than trying to reinvent it.
Nigel Lindsay was easily my standout as the gin-loving Uncle Willie. While much of High Society is filled with polished, wealthy characters and their increasingly complicated romantic lives, Lindsay’s Uncle Willie feels like a breath of fresh air amongst them. He’s less pretentious, more mischievous, and seemingly far less concerned with behaving properly.
Lindsay gets plenty of laughs from the audience, but it’s his ability to completely command the stage whenever he appears that makes him so memorable. His jazz number is a particular highlight, with some brilliant choreography that gives the production one of its liveliest moments.
The rest of the cast settle comfortably into their characters, with the production benefiting from a company who understand exactly what kind of musical this is. Helen George and Julian Ovenden have an easy chemistry as Tracy and Dexter, while Freddie Fox and Carly Mercedes Dyer work equally well together as Mike and Liz.
Imogen Bailey, standing in as Dinah Lord, brings a wonderfully whimsical energy to the role, with some particularly good comedic timing.
None of the performances felt like they were trying to reinvent the characters, but I don’t think High Society necessarily needs that. This is a production that works best when it embraces its old-fashioned musical theatre style, and the cast do exactly that.
A proper Golden Age musical
If you enjoy classic musical theatre, there’s a lot to appreciate here. This production of High Society feels very true to its era rather than trying to modernise the material unnecessarily. The older members of the audience appeared to particularly enjoy it, with plenty of laughter throughout and a clear appreciation for its traditional 1950s setting. The comedy plays an important role in keeping things lively, with a slightly camp, romantic quality that feels very much at home in a classic musical.
The romantic chaos reaches its peak in Act Two, when several characters begin sneaking around the grand mansion. Tracy and Mike disappear for some drunken debauchery, Dexter goes in search of Tracy while trying to deter an agitated George, and Uncle Willie finds himself pursuing Liz. What follows is a wonderfully messy series of cat-and-mouse games, with several storylines colliding across the stage.
It’s one of the points where the production really finds its energy. With characters constantly crossing paths and something happening in almost every corner of the stage, the choreography and comedy work particularly well together, making this one of the most entertaining sections of the show.
Glamour on stage
The set design is one of the strongest elements of the production.
The outdoor scenes in particular look beautiful, with the pool sequences providing some of the most visually impressive moments of the evening. They give the production a real sense of depth and glamour, while helping establish the wealthy world these characters inhabit.
I also enjoyed the contrast between the different locations. The production doesn’t simply rely on one static set and expect the story to do all the work; there is enough variation to make each setting feel distinct.
The costumes fit beautifully with the period, too. There’s plenty of attention to the 1950s styling, and the wardrobe works alongside the set to create a cohesive picture of this upper-class world.
Holding back a little
While the production is enjoyable, I found myself wanting something more. Despite all the charm on paper, the production feels like it’s holding back at times.
There are sections where the pacing feels slower than I’d have liked, and I occasionally found myself expecting a little more energy. It’s not that the production becomes dull, but there are moments where the momentum dips before the comedy or choreography pulls it back up again. For newer audiences, the production could benefit from more of a spectacle.
The set design creates a world of extravagence, but the production doesn’t always match that same energy. Whether it’s through the music, costumes or overall staging, there are moments where it feels like it could push the spectacle further.
Interestingly, the longer dance sequences demonstrate exactly what the production is capable of. When the full company is moving and the stage is filled with activity, High Society feels much more vibrant. I would have liked more of that energy throughout.
Final thoughts
High Society offers an enjoyable night at the theatre, particularly for anyone who enjoys Golden Age musicals and sophisticated comedy.
There’s plenty to enjoy, from the beautifully period-appropriate costumes and impressive set design to some genuinely funny performances. Nigel Lindsay is a particular highlight, while the Act Two chaos demonstrates just how entertaining the production can be when its comedy, choreography and ensemble energy all come together.
The audience reaction was also a reminder that this style of musical still has a very appreciative audience, particularly among those who grew up with or have an affection for the classics.
I’d recommend seeing High Society if Golden Age musicals are your thing. Overall, it’s a fun production filled with scandal, nostalgia, and glamour.
High School Musical is running at the Lowry Theatre until 03 October. Book your tickets now.
**Tickets gifted in exchange for an honest review
Kelsey Haslam is the founding editor of Magenta Adventures Travel Publication and a freelance travel writer with a focus on community-based travel, culture-led experiences, and theatre tourism. She is passionate about spotlighting lesser-known destinations and connecting travellers with meaningful, human-centred stories.
Her published work includes destination features and luxury hotel reviews for leading travel outlets such as A Luxury Travel Blog, Beau Monde Traveler, and Luxury Lifestyle Magazine.
Explore more about Kelsey’s background on the About Page.
