In a world of screen-stage adaptations, it is a rarity that the source material is elevated enough to ensure longevity for the wider population beyond purists of the original. But, in my in my humble opinion, there’s one that trumps the rest- Legally Blonde: The Musical.
Now playing at Manchester’s Opera House, Legally Blonde is based on Amanda Brown’s novel and subsequent 2001 film starring Reese Witherspoon. The musical, after transferring from Broadway to the West End in 2010, garnered mostly positive reviews and snatched the Olivier awards for Best New Musical and performance awards for both the Best Actress and Best Supporting Actress categories respectively. Now, on its third UK tour, last seen at London’s Regents Park Open Air Theatre in 2022, Amber Davies is donning the pink and sparkles whilst bending and snapping her way to lead the company as Elle Woods.
The musical, book by Heather Hach, with music and lyrics by Laurence O’Keefe and Nell Benjamin, largely follows the occasionally absurd but highly entertaining and hilarious plot of the movie with slick choreography from Leah Hill and energetically modernised direction from Nikolai Foster.
Elle Woods, fashion major and president of the Delta Nu sorority at UCLA is at risk of losing the love of her life, to more ‘serious’ girls at Harvard Law School. Not one to abstain from a challenge, Elle directs her attention to quit UCLA, be accepted to the Ivy League school and win back the heart of her beau while proving that being true to yourself, never goes out of style.
For some, Legally Blonde may tread the lines of outdated stereotypes and at times be somewhat brash, however, the overall tone and message of the piece is to stand up those stereotypes and loudly and proudly be who you are despite anyone else’s preconceived ideas. This piece does that and then some through strong female connections and themes of justice, resilience and integrity.
Davies brings an emotional intensity to Elle not always seen in previous characterisations; she commands the stage throughout with soaring vocals while not relying on the character’s origins to find her own interpretation. Covering as Paulette, we were treated to the hilarious Keanna Bloomfield who steals the Bend & Snap sequence and, again, shows the character in a different light to those who have worn Jennifer Coolidge’s iconically comic shoes of old.
Supporting cast members are energetic and committed throughout: Elle’s Gen-Z inspired sorority sisters Serena, Margot and Pilar, (Rosanna Harris, Hannah Lowther and Remi Ferdinand) who hit every beat of Hill’s choreography whilst bringing the comedy chops throughout, to George Crawford’s Emmett who delivers nice-guy energy and riffs aplenty throughout his smooth vocals. Regarding vocal triumphs, Annabelle Terry’s sustained belt in Legally Blonde Remix and the finale is, frankly, jaw dropping- and helped massively by Adam Fisher’s sound design which is refreshingly rousing throughout.
(It goes without saying, and I’m sure the cast would agree that the real stars of the show are the adorable dogs playing Bruiser and Rufus, Sprout and Rocco.)
Ben Cracknell’s lighting design is bold, vibrant and injects life into Colin Richmond’s set. This is further bolstered by Tom Rogers’ costumes and WHAM by Sam Cox, gifting each character their own identity whilst rocketing the show into the modern day.
Legally Blonde is a force to be reckoned with. In a world full of adaptations, omigod, omigod you guys- this one qualifies as one not to miss!
Playing at Manchester’s Opera House until Saturday 14th November. Further information and booking details can be found here.
Tickets received in exchange for an honest review. #AD
Photography by Matt Crockett.
