The show opens with the Butler's Ballet as he, played by Allen Phelps, prepares the lounge for occupation by the weekend guests. Things move along swimmingly as people arrive and are introduced to us with appropriate Porter songs and then suddenly Linda (Natalie Brouwer) and Donald (Matt Michael) launch into a newlywed duet, "True Love" from the 1956 film musical 'High Society" and both the plot and the distractions start.

        But, as I said, after a while it really doesn't matter. With very little dialogue and more than a few verbal jabs and interjections, it is the songs that matter, not their sources. It is just what they convey about the characters and not when they were written. Porter's style is just Porter and he and his lyrics have a timelessness that transcends period. His universal sentiments are the thing, not Ethel Merman's sound or Mary Martin's tones or Grace Kelly's ineptitude with a song. It is the songs, and this show is all about the songs and not who sang them. 

        The second couple, Tilly and Charles, are played by Lindsay Braverman and Jarod Bakum. This is one of the most perfectly balanced quartets I've seen in a while;. each one sings and dances well and their vocal harmonies are extremely engaging. They all exhibit stage personalities that engage our imagination, wear clothes beautifully and are adept at comic asides, those looks designed for a laugh. What none of them seemed to get were the subtlties of "double entendre" that Porter built into the lyrics of some of his finest songs such as "But In the Morning, No." When you go, listen carefully and try to get the most out of them. The people are all pretty and the show is finely designed with a fascinating set by Sam Slack, pretty costumes by Kara Demler with an assist by the very talented Joanne Maurer) and lighting by Joseph Sicotte (none of which worked perfectly on opening night, but they will).

        One of  the show's finest elements is the musical direction and playing of Victoria Casella who took a much deserved bow with the company. Director Arthur D'Alessio also choreographed his cast around tight spaces and made the show as fluid a presentation as possible which also made it as interesting as it could be. In a controlled space, with dancing furniture, he kept the show lively and occasionally thrilling as no one fell or got hurt along the way.