High Society Review: A Joyous, Champagne-Soaked Revival at the Barbican

There are few guarantees with a British summer, but here is one you can count on: step inside the Barbican for High Society and you will be bathed in warmth, wit, and wall-to-wall glamour. This revival of Cole Porter's beloved musical comedy is a triumphant reminder that golden age musicals, when staged with this much flair and heart, remain impossible to resist. From the first notes of the overture to the final confetti-strewn curtain call, it delivers pure, unfiltered theatrical joy.

A Classic Story That Still Sparkles

For those unfamiliar with the source material, High Society is based on Philip Barry's play The Philadelphia Story and the celebrated 1956 film that starred Grace Kelly, Bing Crosby, and Frank Sinatra. The plot follows Tracy Lord, a wealthy Philadelphia socialite on the eve of her second marriage to the upstanding but thoroughly unexciting George Kittredge. Complications arrive in the form of her suave ex-husband, Dexter Haven, and a pair of journalists sent to cover the society wedding. What unfolds is a fizzy cocktail of romantic entanglements, class satire, and self-discovery, all set to some of the most memorable songs in the American Songbook.

It is a story about learning to be human rather than perfect, and this production finds just the right balance between screwball comedy and genuine emotional depth. The script crackles with one-liners so dry they could be served in a martini glass, and the audience on press night lapped up every single one.

Freddie Fox Makes a Stunning Musical Theatre Debut

The headline casting coup here is Freddie Fox as Mike Connor, the wisecracking journalist and self-proclaimed "author of one book." Fox is best known for playing morally ambiguous, often sinister characters on screen, so it is a genuine thrill to see him in full charming-goofball mode. He commits completely to the comedy, with impeccable timing and a physicality that draws laughter even before he opens his mouth.

And when he does sing? He more than holds his own. His duets with Carly Mercedes Dyer (a razor-sharp, scene-stealing Liz Imbrie) and Julian Ovenden are packed with humour and genuine warmth. There is a twinkle in Fox's eye throughout that makes it entirely believable Tracy might reconsider her marital plans. It is a deeply endearing performance and a hugely promising start to what one hopes will be a longer career on stage.

Julian Ovenden Is Magnetic as Dexter Haven

If Fox is the surprise package, Julian Ovenden is the sure thing. The actor and singer, a darling of the West End and concert stage alike, brings effortless charisma to the role of Tracy's piano-playing ex-husband. From the moment he saunters back into her life, you understand exactly why she never quite got over him.

Ovenden's rendition of "I Love You, Samantha" is the emotional heart of the entire production. It is quiet, tender, and achingly sincere, a stillness that cuts beautifully through the surrounding dance numbers and opulence. He makes it look easy, which is the surest sign that it is anything but.

Helen George Shines as Tracy Lord

At the centre of it all is Helen George, fresh from her acclaimed turn as Anna in The King and I, and she is magnificent. Tracy Lord is a demanding role: the character must be simultaneously imperious and vulnerable, funny and heartbreaking, the butt of the joke and the smartest person in the room. George navigates every shift with apparent ease, delivering a performance that feels both meticulously crafted and spontaneously alive.

Her vocal work is superb, tackling Cole Porter's demanding melodies with power and precision, and she commands the wide Barbican stage with real authority. Whether she is cutting someone down with an acid remark or quietly realising she has been wrong about everything, George holds the audience in the palm of her hand. It is a tour de force.

Design, Costumes, and a Full-Size Orchestra

Tom Rogers' set design deserves special praise. It captures the rarefied world of the Lord family estate with rich, vibrant detail, evoking Golden Age Hollywood glamour without ever tipping into pastiche. The costumes are equally sumptuous, each outfit a character statement in its own right. Together, the visual elements create a world so lush and inviting you almost want to climb onto the stage and pour yourself a drink.

And then there is the orchestra. A full-size ensemble brings Cole Porter's iconic songs to life with warmth and sophistication. The musicians treat the audience to an extended overture before each act, a generous and indulgent touch that sets the mood perfectly. In an era when many musicals scale back their orchestrations, this commitment to a big, luxurious sound feels like a gift.

Why This Production Works So Well

What elevates this High Society above a merely pleasant revival is its clear-eyed understanding of why the material endures. Yes, it is escapist. Yes, it is set among impossibly wealthy people with impossibly elegant problems. But underneath the champagne and the wisecracks, it tells a genuinely moving story about the gap between the person the world expects you to be and the person you actually are. Tracy's journey from marble goddess to flawed, feeling human being is universal, and this production never loses sight of that emotional core even as it delivers laughs by the bucketload.

The 28-strong cast brings energy and precision to every number, and the choreography makes inventive use of the Barbican's generous stage. There is a generosity of spirit to the entire production that feels infectious: you leave the theatre lighter than when you arrived.

Should You Book?

Absolutely. High Society at the Barbican is one of the most purely enjoyable evenings in London theatre right now. Whether you are a devotee of Cole Porter and golden age musicals or someone who has never considered the genre, this production makes an irresistible case. The performances are uniformly excellent, the design is gorgeous, the orchestra is a dream, and the whole thing radiates warmth and wit.

The show runs until 11 July 2026, and given the reception it has been receiving, tickets are likely to move fast. If you are looking for a guaranteed good time this summer, this is it.

Looking for more great shows to see? Browse all musicals currently playing in London, explore our guide to new shows and transfers, or check out the full listings on our shows page to find your next night out.