High Society

At the centre of the evening is Helen George as Tracy Lord, delivering a performance that balances social poise with emotional vulnerability. George avoids portraying Tracy as merely an untouchable society queen; instead, she reveals a woman wrestling with impossible expectations and an uncertain future. Her vocal performance carries warmth and clarity, while her stage presence anchors the production from start to finish. 

Opposite her, Julian Ovenden brings effortless sophistication to Dexter Haven. There is a quiet confidence in his performance that makes Dexter far more than the charming ex-husband archetype. Ovenden's rich vocals and understated charisma create some of the evening’s most compelling moments, particularly when the character's lingering affection for Tracy begins to resurface. Freddie Fox takes on his first professional musical as journalist Mike Connor. He injects the role with intelligence, wit and a refreshing unpredictability, giving the love triangle genuine dramatic tension. Fox's natural ease on stage ensures that Mike never feels like an outsider simply observing the wealthy elite; instead, he becomes a genuine emotional contender. I think it’s safe to say after this performance  we can expect more musicals in the future. 

Carly Mercedes-Dyer delivers a particularly engaging turn as Liz and she has the audience eating out of the palm of her hand with solo ‘under my skin.’ You could hear a pin drop with this awestruck audience. Mercedes-Dyer adds both humour and heart whenever she appears on stage. Felicity Kendal brings warmth and authority and  has the best one liners, the ensemble creates a lively social world that feels vibrant rather than decorative.