Legally Blonde – The Musical

As someone who found the film Legally Blonde to be a moderately cute and enjoyable, but fairly unremarkable, romantic comedy, it is a pleasure to report that this stage adaptation is a major improvement, and a major success as a piece of entertainment. It is light and bright and breezy, giddy and gaudy and rowdy and rousing at a level that leaves the movie pretty much in the dust, even while staying fairly close to the cinematic plot line.

In the deceptively-tricky-to-negotiate central role of Elle Woods, this show is fortunate to have as dependable and confident a leading lady as Tegan Gully. Those who enjoyed Calamity Jane earlier this year should find her work here to be similarly solid and engaging, as well as an interesting contrast. It must be said, however, that this reviewer was not completely convinced that the character, as portrayed by Gully, would really be so prone to preoccupation with the glossy and shallow side as life. Gully certainly succeeds in radiating the sharp intelligence needed to survive at Harvard Law School, but to balance this with the bubbly and giddy side of Elle’s personality, while having both sides play as believable, is a major challenge, and one not always met by this performance.

Brady Lloyd is an immensely likeable talent whose interpretation of shy and studious Emmett Forrest is a great asset to this show, even if it can’t quite be said that he and Gully manage to set off many visible romantic sparks. Rebecca Raymond presents an extremely striking and formidable villain in the character of Vivienne Kensington, gradually revealing believable dimensions as the show progresses. Nicholas Bishop’s Professor Callahan is a delicious mixture of Daddy Warbucks and Dr Evil. Perhaps most memorable of all is Fiona DeLaine’s endearingly eccentric embodiment of Paulette Bonafonte, with her wacky accent and kooky clothes leaving a lasting impression.

Elle’s three BFFs, frequently utilised as a ‘Greek chorus’, are inexhaustibly sexy/sassy as played by Danae Lloyd, Millicent Sarre, & Sophia Bubner (who makes a particularly notable character transformation from her triumph earlier this year in Seven Brides for Seven Brothers). All members of the featured ensemble deserve an equally high level of praise for their unrelenting energy, impressive abilities and unstoppable spirit – as does choreographer Linda Williams for her crucial and creative contribution to the success of this show.

The band generally manages to keep pace with the performers and to navigate the stylistic changes of the soundtrack, from pop to jazz to salsa (and elsewhere), though their sound is occasionally rough-edged (plus the first version of the title song, done as a would-be poignant ballad, felt musically awkward and unconvincing). The costume co-ordination/production team of Sue Winston, Michelle Davy & Ann Humphries have done a super job, while the video graphics provided by Matthew Berry & Paulo Nacianceno are brilliantly realised and deserving of the highest praise.

Perhaps the most surprising and rewarding aspect of this production is the way it takes its story into imaginative flights of fancy that were rather timidly avoided in the film. The specifics of these sweet surprises will not be spoiled here; suffice to say that any audience member who doesn’t have a huge grin on their face, virtually from first scene to last, is probably beyond help.

Could it be the ultimate compliment to declare about a musical play that by the end, you find yourself wishing you were up on stage, taking part in it? Such is the phenomenal level of fun that the makers of Legally Blonde generate and communicate to an audience. Director/designer David Sinclair and the HMC have definitely delivered a winner. If you loved the film, see this show. If you didn’t love the film, see this show!

Anthony Vawser