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High Society

★★★★

The Mill at Sonning

HIGH SOCIETY at The Mill at Sonning

★★★★

“An elegant production. A swell party indeed. What a swellegant, elegant party this is!”

There’s a bit of a bluesy, Southern vibe about the Mill at Sonning’s “High Society”; as though we’re on the banks of the Mississippi rather than Long Island’s North Shore. Yet at the same time there’s a feel-good fifties swing that flits between the New York plaza suites and a high school prom reunion. For the senses this is an intoxicating mix that makes you feel as lightheaded as the bubbles in the constantly flowing champagne onstage. It takes a little while, however, for it to find its flavour.

The musical draws from the 1939 play ‘A Philadelphia Story’ and the 1956 musical film ‘High Society’. The original Cole Porter songs are all there, with others from his catalogue thrown into the mix for the stage version, slotting into the narrative with varying degrees of success. A narrative that is, on the surface, flimsy, flirtatious and fun. There is some underlying social commentary about class, but overall, it is a backdrop to the music, and it relies on the delivery and the snappy dialogue. Joe Pitcher’s revival focuses on the razzmatazz with glitzy performances from the lead players, ensemble and musicians alike.

It is the summer of 1958, an evening aglow with a warm setting sun. Preparations are underway for the wedding of society-divorcee Tracy Lord (Victoria Serra) and George Kitteridge (Will Richardson). Tracy’s first husband, Dexter Haven (Matt Blaker), gate-crashes events with predictable results as he tries to win back the affections of his first wife. Meanwhile a tabloid newspaper possesses embarrassing information about Tracy’s wayward father and has coerced the family into allowing reporter Mike Conner (Matthew Jeans) and photographer Liz Imbrie (Laura Tyrer) to cover the nuptials. Thus begins a tangled web of romances and revelations.

“the gorgeous splashes of colour from Natalie Titchener’s sumptuous costumes wash across the stage in time to Jaye Elster’s dazzling choreography”

Pitcher’s immersive staging allows the audience to feel like they are guests at the party, the auditorium being an extension to the sumptuous drawing room where most of the action takes place. Chris Whybrow’s sound design evokes the festivities spilling outside; to the gardens, the pool and down to the moonlit beach where Dexter’s yacht is moored. The band wander into and out of view, while the gorgeous splashes of colour from Natalie Titchener’s sumptuous costumes wash across the stage in time to Jaye Elster’s dazzling choreography. But when the music pauses, for the most part the dialogue lacks the quick-fire lightness of touch that Arthur Kopit’s book requires, leaving the lines to be dragged back by an earnestness that dims the twinkle in these characters’ eyes. There are exceptions. Victoria Serra is quite a force to be reckoned with as Tracy Lord; sometimes angry, often drunk and always playful. Katlo, in her professional debut, is a pure bundle of joy as Lord’s little sister Dinah, and a name to watch out for. When the tabloid hacks waft in to ruffle a few feathers, we get a real sense of the fifties film’s original showmanship and delivery. Jeans’ smooth-talking, all-knowing journalist melts hearts left right and centre while, despite his dubious occupation, his own heart nobly aims Cupid’s arrow away from himself to let ‘true love’ blossom in the correct place.

In fact, none of the performers fail to melt our hearts during the musical numbers. The ensemble harmonies are exquisite, while the solo moments scorch as they weave seamlessly between the smouldering ballads and the flaming Latin passion that fires Cole Porter’s songs, courtesy of Jerome Van Den Berghe’s arrangements. A brave approach, but fans of Cole Porter will not be disappointed. as each cast member take their turn to lend their beautiful vocals.

“High Society”, although not particularly festive, is a Christmas treat that you can’t afford to miss. An elegant production. A swell party indeed. What a swellegant, elegant party this is!

 


HIGH SOCIETY at The Mill at Sonning

Reviewed on 9th December 2023

by Jonathan Evans

Photography by Andreas Lambis

 

 

Previously reviewed at this venue:

It’s Her Turn Now | ★★★ | October 2023
Gypsy | ★★★★★ | June 2023
Top Hat | ★★★★ | November 2022
Barefoot in the Park | ★★★★ | July 2022

High Society

High Society

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Gypsy

★★★★★

The Mill at Sonning

GYPSY at The Mill at Sonning

★★★★★

Gypsy

“Rebecca Thornhill is quite remarkable as Rose, establishing her personality as the pushy, determined, possessive matriarch”

 

Billed as ‘A Musical Fable’ (although the pedants among us would describe it as a parable), “Gypsy” camouflages its many moral messages in a sheer razzamatazz account of the real-life Gypsy Rose Lee; the highest paid striptease artist of her time. Supposedly born sometime around 1910, the date has always been unclear due to her mother, Rose, constantly re-inventing her daughters’ ages to satisfy her own needs and the fluctuating child labour laws. It is Rose herself who ultimately occupies the central theme of what has been described as one of the ‘greatest American musicals’. Then again, it is hard to go wrong with composer Jule Styne, lyricist Stephen Sondheim and writer Arthur Laurents.

Joseph Pitcher’s production is one of The Mill at Sonning’s boldest projects to date which, it is safe to say, doesn’t put a foot wrong either. From the outset we are thrust into the precarious, decadent and exciting Vaudeville world of the 1920s. The overture – worthy of a night out in itself – spills onto and beyond the stage, musicians mingling with cast and audience, characters appearing from suitcases, and a colourful hint of the kaleidoscopic range of Natalie Titchener’s outstanding costumes.

The show displays the contrasting atmospheres of the world depicted. The highs, the lows, the glamour and the shabbiness. Sisters Louise and June are growing up in this world under the formidable shadow of Rose. The ultimate ‘showbusiness mother’, she pushes her daughters into the spotlight and into her own failed dreams with disastrous effects. The more vivacious June is pushed away, while the shy Louise longs for a normal life, eventually eclipsing her mother. Ultimately, she finds her own success in the world she sought to escape, transforming into ‘Gypsy Rose Lee’. Although it is her memoirs that inform the story, it is the mother’s voice that tells it and steals the show.

Rebecca Thornhill is quite remarkable as Rose, establishing her personality as the pushy, determined, possessive matriarch. But far from grotesque. She does monstrous things but is not a monster, and Thornhill perfectly understands that dichotomy. The comedic twinkle is matched by a sincere vulnerability that pulls the character away from cartoon brashness and, amazingly, we end up really rooting for her. If “Everything’s Coming Up Roses” is a showstopping climax to the first act, just wait for her rendition of “Rosie’s Turn” in Act Two.

Evelyn Hoskins, as Louise, wears the timid awkwardness like a mantle to protect herself. When forced to shed this (and, of course, more) her wide eyed abidance is quite moving, tipped by a heart-rending moment when she gazes back at her younger self. The transformation is complete, and uplifting, as she picks up the familiar motif number “Let Me Entertain You”. It’s a fascinating journey. Lost on the way, thanks to the antics of Rose, are sister June (an impressive Marina Tavolieri) and Daniel Crowder’s big-hearted agent Herbie. Crowder skilfully steps through the eggshells Rose has laid, dispelling humour and joy and ultimately heartbreak as the armour of his illusions are shattered.

This fine company brings out the best of Styne’s score and Sondheim’s inimitable lyrics, with choreography and production values to equal any West End or Broadway revival. It is a story of contradictions and contrasts. There is a darkness that is lightened by the witty libretto and sumptuous score, and a hardness that is softened by emotionally charged performances and the slick staging. There are lessons to be learned from the ‘fable’, but it never slips into platitude.

Rose tells her daughters to “leave them begging for more – then don’t give it to them”. This production certainly leaves us wanting more, but gives it to us too. In bucketloads. “Let Me Entertain You” it proclaims. Just try stopping them! A stylish, superbly crafted show that is also steeped in sympathy for the main characters. Since its original Broadway production in 1959, producers have toyed with the ending, often leaving it open as to whether there is reconciliation. This one? Well – just go and find out for yourself.

 

Reviewed on 1st June 2023

by Jonathan Evans

Photography by Andreas Lambis

 

 

Previously reviewed at this venue:

 

Barefoot in the Park | ★★★★ | July 2022
Top Hat | ★★★★ | November 2022

 

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