This week, Eastbourne is all about High Society, as the show completes its 2026 season at the Congress Theatre, bringing all the West End experience and glamour all the way from America to the South Coast – and yes, we want to be millionaires too!
Based on the classic 1956 film starring Grace Kelly, Bing Crosby and Frank Sinatra, the story centres on wealthy socialite Tracy Lord, whose carefully planned wedding is thrown into disarray by the unexpected arrival of her former husband, Dexter Haven. A couple of inquisitive journalists join the party, looking for a scoop on her father, and find themselves caught up in a party destined to unravel as the champagne flows and the wedding draws closer.
The cast was led by Helen George (Call The Midwife), who seemed born for the part and a real focal point on the stage. Her Tracy was silly and flippant at times, warm as she realised her true destiny, and always ready to lead the story forward. Her voice was clear and always in tune, and she moved beautifully on the stage, literally bouncing with joy at one point. We felt energised by her performance and loved the way she used little side looks to communicate so much with the audience and her fellow actors. Her rendition of ‘True Love’ was perfect – it brought the emotions right to every seat.
Helen’s love interests were played by a team of very strong performers. Julian Ovenden (Dexter Haven) used his clear, confident voice so effectively, bringing tender feelings and reflective moments to match the chaos around him, and a delightfully confident swagger when it was time for him to make his move. Freddie Fox (Mike Connor) was the perfect match for him, with a deeper and distinctive voice and seemingly no inhibitions as he danced around the space. However, two actors really stole the show for us. Carly Mercedes Dyer (Liz Imbrie) was hilarious with her little touches of annoyance and physicality, then so raw in ‘I’ve Got You Under My Skin,’ bringing a new feeling to this classic. Also, Nigel Lindsay (Uncle Willie) led the stage with ‘Now You Have Jazz,’ a challenging number he confidently managed, while also adding comedy throughout the night.
The highlight for us was the ensemble number, ‘Let’s Misbehave’. The whole cast came together for an alcohol-fuelled, bawdy party, and we loved how the mood changed, the lighting switched, and the cast played. We enjoyed the playfulness of the scene, the excellent movement by the swings, and the same-sex partnerships portrayed, which brought the feel of the show up to date while also nodding to Cole Porter himself. The whole stage seemed to be filled with revelry, and it felt so much like a party we wanted to attend, but only if we could avoid the hangover.
The staging was grand and effective, with various props brought on to shift the mood and location of the action. Particularly effective were the swimming pool scenes, where such a simple addition to the stage changed the whole atmosphere. The full live orchestra were also wonderful, adding to the production and also taking to the stage in the jazz numbers. Lastly, we must mention the ensemble, who were superb and added to every moment of the show. This was particularly evident in the reprise of ‘Who Wants To Be A Millionaire’ where their individual voices were allowed to shine through.
The strong cast made the evening effortless, and Cole Porter’s score was packed with songs we all knew. Who Wants to Be a Millionaire? and I Love Paris to Well, Did You Evah! and Just One of Those Things – the list goes on – these songs are almost incidental in the storytelling, but each one has taken on a life of its own through the years. Still, it didn’t feel like a jukebox of hits – the story was the main focus, as it should be.
This felt like a West End musical because that’s what it was. The sets, the orchestra, and the actors all performed at a level you don’t always see in regional theatre, and we could tell how much work had gone into making this production as lavish as it looked. This was more than a nostalgic revisit of a once-great musical; it was a great interpretation of a classic with something for everyone.
Simply swellegant!
Remaining Performance dates
Thursday 12 November 2.30pm and 7.30pm
Friday 13 November 7.30pm
Saturday 14 November 2.30pm and 7.30pm
Tickets are available from the Congress Theatre.
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