High Society at Sky City Theatre

Irwin Winkler's recent film Delovely was a bold, if not completely successful, attempt to introduce a younger generation to the genius of Cole Porter. ATC's lavish production of High Society takes a different tack, with a nostalgic tribute that emphasises the timeless qualities of Porter's work.

His songs are so deeply embedded in popular culture that they instantly resonate, even for listeners who are unfamiliar with Porter's voluminous oeuvre. Their appeal arises out of a curious mixture of sophistication and playfulness; world-wearied cynicism is miraculously combined with exuberance and a childlike sense of wonder.

High Society has a complex lineage. Beginning life as a stage play, it was adapted for Katharine Hepburn and re-made in 1956 as an MGM musical scored by Cole Porter. New Zealand writer Carolyn Burns has re-jigged the story to showcase a wide range of Porter's songs that are deftly woven into the fabric of the story.

The strong cast delivers some sparkling performances. Most notable was an ensemble rendition of Let's Do It, in which the vitality of the staging perfectly complemented Porter's wildly inventive lyrics.

The narrative is classic romantic comedy - amid the chaos of wedding preparations, the heroine fends off a pair of unlikely suitors, vacillates, and eventually chooses the path of true love.

When the ending is inevitable, pacing becomes crucial, and here the production faltered. The last act was heavy with dialogue and bogged down with ponderous explanations of circumstances that needed no explication.

The strength of the ensemble work at times over-shadowed the leads. Helen Medlyn in the minor role of the bride's mother produced a show-stopper with marvellously ironic inflections on Nobody's Chasing Me.

Equally strong turns came from Mark Hadlow as the impish Uncle Willie, and the pair of newshounds played by Vicky Haughton and Roy Snow. Emmeline Hawthorne managed to be both irritating and endearing as the bride's precocious sister.

Angela Shirley and Latham Gaines, as the romantic couple, gave convincing performances. If they failed to fully engage the audience, much of the blame lies with script. The numerous subplots were overplayed and the protagonists were often rushed offstage at key moments.

The stage design allows Tracy Grant to indulge her penchant for the baroque. Set and costumes are executed with panache and greatly enhanced by the deep shadows and luminous highlights of Vera Thomas' lighting.

The overall effect was sumptuous and elegant but somehow seemed out of sync with the offhand quality of Porter's lyrics.

All in all the show offers an enchanting night and is fitting tribute to Cole Porter's inimitable art - "A trip to the moon on gossamer wings / Just one of those things."

*When: until December 17