Review: HIGH SOCIETY at Ogunquit Playhouse

The brassy stage musical, High Society, is currently holding court at the Ogunquit Playhouse in a production that was specifically reimagined from Philip Barry's play The Philadelphia Story (and its iconic film counterpart), for the hallowed playhouse. This production delivers a generous helping of wit, charm, and musical sophistication, making for an unforgettable evening of theater.

Director Matt Lenz has done a commendable job of balancing the various elements of an intricate plot that changes from minute to minute. And the plot is wonderfully driven with music and lyrics by the legendary Cole Porter.

The story revolves around the impending wedding of socialite Tracy Lord to the dependable, if somewhat of a stuff shirt, George Kittredge. Her plans are complicated by the unexpected arrival of her impish ex-husband, C.K. Dexter Haven and two cynical magazine reporters, Mike Connor and Liz Imbrie sent to cover the "society wedding of the year” as well as the potentially scandalous story about Tracy’s father, Seth Lord, having an affair.

What unfolds is a nonstop string of mistaken identities, rekindled flames, and a witty exploration of love, class, and genuine happiness. The book by Arthur Kopit, with additional lyrics by Susan Birkenhead, and adapted for Ogunquit Playhouse by BT McNicholl, keeps the narrative flowing with sharp dialogue and comic brilliance handled by a very engaging and skilled cast.

Tony Award nominee Robyn Hurder as Tracy Lord is simply radiant. She navigates Tracy's journey from an icy perfectionist to a spirited woman grappling with her true desires remarkably well, always confidently taking command of the stage. Her voice is strong and clear and perfectly suited to Porter's intricate melodies.

Max Clayton as C.K. Dexter Haven is naturally charming and possesses a suave, understated charisma that makes his character very appealing. Clayton is the ultimate song and dance man perfectly set to his role as he takes on any vocal number or dance style thrown at him. He and Hurder shine in “True Love,” and “After You, Who?”

The "intruders" from Spy magazine, 2025 Tony Award nominee Andrew Durand as Mike Connor and Sydney Morton as Liz Imbrie, provide much of the comedic relief and are nice counterpoint to the aristocratic antics. Durand’s scenes with Hurder are playful and fun and are delightful in their duet, “You Do Something to Me.” Morton's Liz is a great supporting character who plays nicely off of Durand but is especially fine in their subtly  burgeoning romance. She also shows off her vocal talent in the number, “It Must Be Fun to Be You.”

Charlie Franklin, as the earnest George Kittredge, elicits both sympathy and amusement as he is known for always running, rather than walking from scene to scene. Sara Gettelfinger as Margaret Lord exudes elegance, wealth and upper-class demeanor opposite an equally upper crust husband, Seth Lord played by Mike McGowan.

As a longtime fan of the television series, “Mad Man,” I was thrilled to see an alum from that show, Bryan Batt as Uncle Willie. (He was Salvatore Romano in the series.) With an impressive slew of Broadway credits, Batt offers a masterclass in comedic timing and shows his vocal chops in “Let’s Be Buddies,” and “You Do Something to Me” the latter in a duet with Morton.

In the role of Tracy’s sister, Dinah, Charlotte Van Ledtje, (I would guess an older pre-teen) performs like a seasoned veteran particularly sharing the spotlight with all the Broadway talent filling the stage. Her number, “C’est Magnifique” with Hurder shows that this kid has the makings of a great stage career.

A jazzed-up trio, performing like a Greek chorus, gives a play-by-play commentary of the story led by vocalist, Ari Groover, and musicians Troy Valjean Rucker and Katrina Yaukey. The trio has the place sizzling from the opening number. Their best renditions are “High Society” and “Now You Has Jazz.”

The set design by Alexander Dodge, a triumph of elegant simplicity, perfectly captures the grandeur without overwhelming the stage. The lighting design by Richard Latta further enhances this, with warm, inviting hues for intimate moments and bright, crisp washes for the more boisterous ensemble numbers. Tracy Christensen's costume design truly shines, bringing the era's glamour to life.

Of course, a Cole Porter musical lives and dies by its score, and this production truly lets his genius shine. The orchestra, under the capable music direction of Nicholas Connors, sounds rich and vibrant, providing the perfect foundation for the classic tunes. There are delightful renditions of "True Love," “You Do Something To Me,” “Let’s Misbehave,” and "Well, Did You Evah!" that fill the Playhouse with toe tapping energy.

While the plot itself is a familiar one, the Ogunquit Playhouse's High Society manages to feel fresh and relevant. The production does not shy away from the underlying commentary on class and authenticity, but it never lets it overshadow the sheer joy and romantic comedy at its core.