High Society: The Cole Porter Musical Comedy

Musical (1997)
Music and lyrics by Cole Porter
Book by Arthur Kopit
Additional Lyrics by Susan Birkenhead
Based on the play The Philadelphia Story by Phillip Barry
Adapted for Ogunquit Playhouse by BT McNicholl
Directed by Matt Lenz
Choreography by Jeffry Denman
Ogunquit Playhouse
Ogunquit, ME
July 24 – August 23, 2025

Music Supervisor/Orchestrator: Greg Jarrett; Music Director: Nichloas Connors; Scenic Design: Alexander Dodge; Lighting Design: Richard Latta; Costume Design: Tracy Christensen; Sound Design: Haley Parcher; Wig/Hair and Makeup Design: Roxanne de Luna

With Max Clayton (CK Dexter Haven), Robyn Hurder (Tracy Lord), Charlotte Van Ledtje (Dinah Lord),
Andrew Durand (Mike Connor), Ari Groover (Cholly Knickerbocker), Sydney Morton (Liz Imbrie), Bryan Batt (Uncle Willie), Charlie Franklin (George Kittredge), Sara Gettelfinger (Margaret Lord), Mike McGowan (Seth Lord), Ensemble: Joshua Burrage, Jaclyn De Nicola, ZaKeyia Lacey, Christian Probst, Troy Valjean Rucker, Jesse Swimm, Rachel Tata, Jessica Wockenfuss, Katrina Yaukey

Tracy Lord (Robyn Hurder) and C.K. Dexter Haven (Max Clayton) were together but are no longer, but that does not stop Dexter from coming to put in his two cents when Tracy is set to marry the rather straitlaced and uptight, but hopefully more reliable, George Kittredge (Charlie Franklin). Dexter, a fun-loving and freewheeling sort, is welcomed by Dinah Lord (Charlotte van Ledtje), Tracy’s incredibly precocious and fun-loving younger sister. He is still obviously very connected with Tracy, but her plans seem set with George, so Dexter insinuates himself in the pre-wedding machinations in a very present way while he, along with others, help things get complicated.

Meanwhile, there is a intrigue brewing with journalists Mike Connor (Andrew Durand) and Liz Imbrie (Sydney Morton), who also show up in attendance, and they don’t stray too far from the romantic intrigues either. Uncle Willie (Bryan Batt) parades as Tracy’s father to avoid any complicating journalistic investigations, while Tracy’s actual father, Seth Lord (Mike McGowan), with whom she has a stressed relationship, hangs in the shadows. Seth’s wife and Tracy’s mother, Margaret (Sara Gettelfinger), stands up nobly amidst her husband’s strayings, keeping good faith and a hopeful outlook. Tracy’s projected marriage with George gets knotted up significantly while Dexter and Mike hover and while Liz looks on with considerable interest. All of this is monitored with humor and alacrity by the young but spunky and wise Dinah who keeps astute observations and commentaries rolling.

What a delightful and wonderful production of this witty and astute comedy this is. Cole Porter’s lyrics are right on the mark, with supplemental lyrics by Susan Birkenhead providing ample support. They are all to the point and full of spark, and Kopit’s book is wonderfully adroit. Porter’s music is certainly lively, and bears well the famous songs which come across nicely in this production, among them the inimitable Let’s Misbehave, It’s De-Lovely and You Do Something To Me. It’s striking how some of these tunes weave endlessly throughout the narrative, being dropped and picked up at intervals then reasserting themselves curiously and unsuspectingly. Though Porter’s music is not particularly innovative, it is wonderfully evocative of that special champagne pizzazz that Porter was so adept at conveying. This production does a truly wonderful job of bringing it to life.

In addition to highly competent singing throughout – there are no weak voices here – the choreography by Jeffry Denman is astoundingly good. In moment after moment, one is struck by its inventiveness and by the adeptness of the main and supporting cast in carrying it off. All kinds of ballroom and tap dance moves weave themselves in and out of the more staged group numbers and the effects are tantalizing. If one went to the show just to see that, one would not come away disappointed. But, the whole production glitters.

And the particular performances glitter in numerous ways. Max Clayton, who glistened in Ogunquit’s Crazy for You a couple of seasons ago, is equally captivating here. He has an irresistibly magnetic manner, and a radiant style to boot, and he offers the role of the insistently but fun-loving Dexter the exact kind of bounce it needs. As Tracy, Robyn Hurder provides the stately elegance and dynamism that perches her character between the staid George and the hilariously invasive Dexter, positioning her well into the vectored crossing of the dignified and elegant Margaret, her mother, and the constrained but errant Seth, her father.

One must mention, with particular note, the unbelievable performance of Charlotte van Ledtje as Dinah. This kid can rock! What she does with movement, expression and presence is almost not to be believed of a young performer, and she pulls it off with gusto, confidence and authority. This kid is to be watched.

As the parental units, Sara Gettelfinger gives a nice performance of the dignified and quietly suffering Margaret, while Mike McGowan, seen in a nice performance as Fredrik in Ogunquit’s last season performance of A Little Night Music, holds his own here in the somewhat complicated role of Tracy’s father. In a broader role as Uncle Willie, and pretending to be Tracy’s father, Bryan Batt gives a very funny interpretation, full of outlandishly unconstrained mugging, but very entertaining.

As the journalists, Sydney Morton and Andrew Durand do well, with their earnestness adroitly compromised by romance and the appropriate tones of hovering around the boundaries of their profession well expressed.

Music adapted by Greg Jarrett and directed by Nicholas Connors is carried off well backstage. Scenic design by Alexander Dodge and lighting design by Richard Latta are thoughtful, inventive and scintillating. Costumes by Tracy Christensen and hair and wigs Roxanne de Luna are stylish and well conceived.

This is a truly entertaining and capable production, worthy of attention by those who love musical comedy rendered in its finest and most energetically sprightly forms.

– BADMan (aka Charles Munitz)