High Society at Nottingham Theatre Royal

High Society is a lavish slice of musical theatre, with gorgeous costumes, dazzling choreography and a delightful performance from Helen George. While its romantic entanglements don’t offer quite as much substance as its opulent surroundings might suggest, there’s plenty to enjoy in this feel-good production.

“Welcome to Newport,” the stage curtain announces, inviting us into a world of family drama, romantic complications and extraordinary wealth. Based on Philip Barry’s play The Philadelphia Story, which was famously adapted into the 1956 film musical, Cole Porter’s High Society has enjoyed a long life on stage. Somehow, despite all this, I was unfamiliar with the story. Fear not, though, as it’s immediately apparent where things are heading the moment Julian Ovenden as Dexter Haven steps on stage.

Rachel Kavanaugh’s production makes an impressive first impression, transporting us to the grandeur of a Long Island lakeside mansion. Grand staircases and balconies are put to excellent use, while clever changes in the staging distinguish the interiors from the gardens beyond. The pool is a particularly ingenious touch, with its surrounding frame creating an illusion of depth that adds another dimension to the already impressive design. Artful lighting helps to move the action through the day, while the recurring High Society motif provides a familiar musical interlude as the ensemble work their magic with the scene changes.

Visually, there’s plenty to feast your eyes on. A parade of jewel-toned, flouncy dresses complemented by beautifully coordinated choreography from Anthony Van Laast give colourful, old-Hollywood glamour and polished movement. Porter’s score is pleasant, although the melodies are perhaps more enjoyable in the moment than memorable afterwards.

At the centre of it all is Helen George as Tracy Lord, whose poise and sharp tongue make her an engaging leading lady. For someone with such a formidable way with words, it’s amusing how readily the men in her life fall at her feet. Although, if my ex-husband decided that the weekend of my wedding was the ideal time to win me back, I suspect I’d be equally inclined to give him a piece of my mind.

Fortunately for Dexter, Julian Ovenden brings plenty of charm to the role. Freddie Fox and Carly Mercedes Dyer make an entertaining pairing as journalists Mike Connor and Liz Imbrie, who infiltrate the wedding festivities in search of a story. Their attempts at covert observation soon become something of a comedic hostage situation once Tracy and her younger sister Dinah get involved. Naomi Pacquette is particularly enjoyable as Dinah, whose meddling seems to do much of the heavy lifting in keeping the plot moving. Meanwhile, Josefina Gabrielle’s Mother Lord is firmly in her daughter’s corner, seemingly willing to go along with whatever mischief Tracy has planned.

Nigel Lindsay offers an amusing turn as the alcoholic but surprisingly perceptive Uncle Willie, while David Seadon-Young makes George Hittredge’s rather dull demeanour remarkably sympathetic, whose only real crime seems to be being an accountant.

The cast are a charming ensemble, and there’s no shortage of entertainment in watching these wealthy Newport residents navigate their romantic entanglements. However, it’s hard not to notice just how little substance there is beneath all the glamour.

The central romantic complications never feel particularly consequential. Dexter seems perfectly content to walk away again, Tracy’s flirtation with Mike is never a serious threat to either of their relationships, and when George discovers that it’s been “only a kiss”, he’s remarkably quick to forgive and forget. Even the wider family dynamics remain relatively surface-level, with little in the way of genuine conflict or emotional depth.

There’s also something a little jarring about being asked to invest in the romantic dilemmas of Newport’s wealthy elite, whose problems feel a world away from most of the audience. Mike announces his “Bolshevism”, but appears quite happy to leave his principles behind once presented with a glass of champagne. Fellow journalist Liz, at least, seems to retain awareness of the ridiculousness of the situation but there’s little sense of the production itself taking a similarly sceptical view.

Of course, High Society is an escapist musical, and there’s nothing wrong with a little old-Hollywood fantasy. High Society is clearly more interested in dazzling its audience than challenging it, and with such beautiful staging, gorgeous costumes, polished choreography and a cast this charming, it’s easy to get swept up in the spectacle. It might not offer much to ponder on the journey home, but as a feel-good evening of escapism, there’s plenty to love about this lavish production.