Review! High Society, The Barbican Theatre, June 2026

The champagne was flowing, the gowns were dazzling, but could High Society deliver more than just style?

My theatre-going this week took me not only to a show I had never seen before, but also to a venue I had never visited. The beautiful Barbican Theatre is currently home to High Society until 11th July before the production embarks on a UK tour.

Based on The Philadelphia Story by Philip Barry, with a book by Arthur Kopit and music and lyrics by Cole Porter, High Society promises to be the most swellegant, elegant party of the year. The question I found myself asking was: would I be reaching for the bubbly or my bag? Thankfully, this was one invitation worth accepting.

The story centres on a single weekend in the life of Tracy Lord, a wealthy socialite preparing to marry the dependable George Kittredge while contending with a blast from her past in the form of ex-husband Dexter Haven. Adding further complications are two undercover reporters determined to uncover a story. Will the wedding of the year go ahead without a hitch? Of course, if musical theatre has taught us anything, it's that weddings rarely go according to plan.

At its core, High Society tells a relatively straightforward story. In truth, much of the plot is fairly predictable, but that is not necessarily a criticism. While I was entertained throughout, I never felt fully invested in the emotional stakes. It is a show that feels comfortable and familiar rather than surprising. Rather than reinventing the wheel, High Society opts to polish it until it gleams.

There was, however, plenty to enjoy. As this was my first visit to the Barbican Theatre, I was struck by the sheer scale of the stage. Designer Tom Rogers makes excellent use of the vast space, creating a lavish mansion setting that effortlessly conveys wealth and grandeur. With every scene transition and additional set piece, the production exuded elegance. The production never lets you forget exactly how the other half live.

Jon Morrell's costumes were simply stunning. From glamorous cocktail gowns to layers of petticoats, every detail helped recreate the glamour of the era. Anthony Van Laast's choreography was equally impressive, bringing energy and vibrancy to the production. Particular highlights included the upbeat numbers "Now You Have Jazz" and "Let's Misbehave". The latter, which takes place during Tracy's increasingly wild night of celebration, was especially entertaining. I loved how the choreography evolved from something polished and proper into delightfully chaotic drunken revelry. One sequence in particular felt like a sophisticated, upper-class version of Dirty Dancing with the choreography practically having a pulse of its own.

I rarely comment on lighting design, but Howard Hudson's work deserves special mention. His use of subtle transitions to indicate changes in time, location and mood was beautifully executed. The lighting added depth and atmosphere throughout, particularly during the party scenes, and became an element I found myself repeatedly drawn to.

The cast is overflowing with talent. In fact, the show proved far funnier than I had anticipated, with witty one-liners and the occasional cheeky double entendre earning frequent laughs from the audience.

Felicity Kendal brought warmth and personality to the role of Mother Lord. Although she spends less time on stage than some of her fellow cast members, she makes every appearance count. A particular audience favourite was Nigel Lindsay as Uncle Willie, whose fondness for a drink provided many of the evening's biggest laughs.

In his first musical theatre role, Freddie Fox was thoroughly charming as Mike Connor. I particularly enjoyed watching his journey from cynical observer of the wealthy elite to someone who gradually lets his guard down. His chemistry with Carly Mercedes Dyer's Liz Imbrie was electric and added genuine heart to the story.

David Seadon-Young and Julian Ovenden also impressed as George and Dexter respectively. Their characters could hardly be more different, and both actors lean into those contrasts effectively. Dexter appears completely at home within the Lord family's world, while George often feels like a fish out of water.

Finally, returning to musical theatre following her acclaimed performance in The King and I, Helen George dazzles as Tracy Lord. The role could not be more different from Anna Leonowens; where Anna was a single mother navigating an unfamiliar society, Tracy thrives within the privileged world she has always known. George brings charm, confidence and charisma to the role, while also capturing Tracy's growing inner turmoil as her past and present collide. Her vocal performances were consistently beautiful, and it was a joy to see her comedic talents on display, particularly during "I Love Paris".

Overall, High Society is a charming musical. While the story itself may not be especially strong or groundbreaking, the production is elevated by its talented cast, stunning design work and infectious sense of fun. If you're looking to lose yourself in an elegant evening of musical theatre for a couple of hours, this is an excellent choice.

⭐⭐⭐⭐

High Society runs at the Barbican Theatre until 11th July 2026 before embarking on a UK tour.

High Society | Barbican