Cockpit's "High Society:" Sophisticated Fun

◊◊◊ out of five.

I am one of maybe 10 people who actually saw High Society on Broadway, I think.  And to be honest, considering the talents involved in that production, not the least of which is Cole Porter, it was a big disappointment.  The book, based on the old Hepburn picture The Philadelphia Story, pretty much proved that that was one film that did not need musicalizing, and the songs, save the catchy title tune (thankfully reprised several times), are third rate Porter at best (including the "famous" "True Love" and "Let's Misbehave").  Thankfully, a return visit to this show, which opened the 35^th summer season at Cockpit-in-Court last weekend, proved to be a considerable improvement, with nice production values, good direction and a marvelous cast of just 17. 

I suspect that much of this has to do with the detailed direction by John Desmone, who wisely has directed the book scenes like the little plays they are, generating terrific characterization from his actors, where the songs offer little help, and actually interrupt the flow of the show on occasion.  In fact, act one plays much like a play, with songs thrown in, while act two zings by like a nifty old-time musical.  It is very rare, indeed, when I find myself enjoying the book scenes more than the songs in a musical!  I guess it just points up the fact that The Philadelphia Story is good enough as it is.  Mr. Desmone also has directed this production with such specificity that it feels like a large scale show and an intimate chamber piece all at once.  He works wonders with a small cast.

 

With minimal scenery (which works surprisingly well considering the opulent Long Island setting) and creative scene changes completed by the Greek Chorus-like house staff, the show keeps on moving and never feels like the two and a half hour show that it is (including intermission).  James Fasching's 1930's-style costumes are eye-catching and go a far distance in establishing character, while Terri Raulie's colorful lighting does much the same for creating moods, which sometimes changes within scenes.  And the sound is superb – every actor is clear as a bell and the balance between cast and orchestra is wonderful.

R. Christopher Rose has done a decent job of the musical direction, keeping great tempos and having a clear connection with the company on stage.  Aside from decidedly ear-splitting missed notes from the brass section, the band does very well, making a lush sound out of only a few instruments.  One wishes he might have spent just a bit more time on the vocals for the House Staff, who are frequently not quite together, starchy or clipped as befitting the maids and butlers of Long Island society.  True, they do, with the blessing of their bosses get to let their hair down after the party, but during and in front of guests, never.  Here is, perhaps, Mr. Desmone's one weak spot as well.  The talented chorus looks poised to be the best serving staff ever, but comes across as if taught through hearsay rather than actual training.  This affects the bite of their rather droll (and quite funny) commentary on the comings and goings of the elite.  Finally, Bambi Johnson is credited with "choreography" of which there is very little, and what there is seems somewhat awkward.  I suspect the company could have done much more.  And considering the scope of Ms. Johnson's experience (several ballet companies, Riverdance and the touring company of Fosse) you'd think she might have come up with a little more.

But the company of actors is what most people come to see, and here they will not be disappointed.  They are all very talented and remind me of the days of Cockpit when even the smallest roles were filled with people that were normally leading players the rest of the year.  In spite of the somewhat blah score (though, honestly, third rate Cole Porter is still pretty darned good) the cast throws themselves into each number with gusto and abandon.  And all of them have lovely voices. 

As the parents, the Lords, Dyana Neal does some nice scene work, nailing the Long Island snobbery when appropriate, while being appropriately unstuffy when called for; Rick Arnold, as the on-again off-again father, has the most seriously under-developed role and does what he can with it.  As the lecherous drunk Uncle Willie, John Suchy is hoot – a walking tribute to style and grace while under the influence, and gives us sexism at its funny-side best.  He's a lot of fun when he leers, but Suchy clearly has given Willie a heart of gold so he offers no offense, but just good-natured fun.

 

The "B Story" couple, concerning a reporter and his femme fatale photog, is played with urbane sophistication by James Biernatowski and Beth Cohen (both of recent local success in Assassins and Beau Jest, respectively).  Both ooze charisma both with each other and their other co-stars – he is particularly fun to watch as he gets increasingly sauced; she is a trip trying to avoid the come-ons of dirty old Uncle Willie.

The main story is that of Tracy Lord, her fiancé George, and her ex-husband Dexter.  As bland as oatmeal George, Russell Gartner has a lovely voice and the perfect slightly dim look on his face for a guy who is clearly out of his league.  It is tough to make a character that is described as boring throughout the show by the entire cast to be both boring AND interesting, but Mr. Gartner does so quite well.  Joey Hellman, as Dexter, is also quite charming, but could use a little more oomph in act one.  But by act two, it is pretty clear why Tracy has left this man and is still in love with him.  Hellman has a great voice and a commanding presence.  And in the leading role of Tracy, diminutive Elisa Dugan is all class and style – quite elegant – and manages to play both sides of the lady/vamp line with finesse.  Wisely, she does not attempt Hepburn-esque line readings, and is perfectly fine as an actress.  Like the rest of the company, it is very clear that she is really enjoying performing act two.  In it, she gets to be the bitch, the drunk and the endearing, and does all with a gleam in her eye.  Her act two solo, "It's All Right with Me" is nice, and indicative of her quality singing voice. 

As mentioned, the entire company seems much more at ease with act two, and for good reason – it is everything a decent musical should be.  But there is one aspect of the entire show – both acts – that shines throughout.  And that is young actress Julia Unitas as Dinah, the child sister of the Lord family.  Miss Unitas takes the stage with such an amazing presence it is hard to believe she is only in 6^th grade.  She is truly (and I am not exaggerating even a smidge) one of the most poised, professional children I have ever seen on any stage.  Her biography mentions that she is professionally represented.  I hope her agent is half as good as the talent he or she represents.  This girl is going places, mark my words.  There is not a trace of schmaltzy kid actor in her.  She is not precocious or pretentious, she is genuine and real.  And boy can she sing and dance!  Trust me.  The future of live theatre is onstage in Essex. 

And the rest of the show is pretty darned good, too!

PHOTOS: Courtesy of Cockpit in Court.

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