• Venue: The Mill at Sonning
  • Date: 13th January 2024
  • Written by: Cole Porter (Music & Lyrics); Arthur Kopit (Book) from the play by Philip Barry
  • Directed by: Joe Pitcher
  • Staring: Matt Blaker; Jennifer Jones; Katlo; Laurie Tyrer; Samuel How

Multum in parvo?...

The first show of 2024 and we’re back at the Mill at Sonning for High Society (‘out of’, as they say in racing, The Philadelphia Story).

Previous readers of my pieces will know that the Mill Theatre is both tiny and wholly inappropriate for staging ‘big’ musicals – which is why, I think, they always are such a success here. And High Society is no outlier, with a miniscule cast of 12 filling the stage, yes it’s that small, a semi circular thrust, with song, dance, badinage and high kicks (the front row, with feet on the stage, ducking at times).

I’ve never seen this show staged before (the films of both High Society and Philadelphia story are too familiar) but Matt Blaker gives us an excellent Dexter (and at a more appropriate age) than Bing Crosby or Cary Grant (Philadelphia) and Jennifer Jones, as an alternate, was a convincing Tracy Lord; Grace Kelly or Katherine Hepburn (Philadelphia), although at times channelling Hepburn’s tones – indeed she managed a rather greater range of emotions than (famously) Dorothy Parker ascribed to Hepburn. 

Of the remaining cast Katlo plays a convincing Dinah Lord (Tracy’s little sister) – this is her first professional show after graduation but she manages a convincing young girl – and Laurie Tyrer and Samuel How (Liz and Mike the two intruding journos) are effective and engaging.

The show was quite careful not to echo the films take on the songs, but still sold them very well (and shoved in a few Cole Porter numbers from other shows as well, effectively).   We all know the show is great (we’ve seen the films) – but this cast and production (directed by Joe Pitcher) really does it justice – the show is small (a necessity of the venue) but perfectly formed. The set, basically 3 staging blocks moved around by the cast, one concealing a piano, was simple but effective – and carried a superstructure sufficiently reminiscent of a yacht’s rigging to remind one of the True Love itself.  [The deal at Sonning is a meal and a show – and the quality of the meal seems significantly higher than in the past, another bonus!]

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