Legally Blonde

Legally Blonde: The Musical will forever be the high-energy, empty-calories and expensive-looking hymn to the glories of girlishness; based on the 2001 film of the same title, it approximates the experience of eating a jumbo box of Gummi Bears in one sitting. Directed by Tony Campbell and accompanied by Musical Director Julie Whiting, alongside choreographer Julianne Burke – this show packs a punch from lights up.

Elle (Genevieve Tree) is onstage nearly the entire show and is a high energy and demanding role.  It’s a tough role but Genevieve nails it. Her comedic timing is incredible, and every note hit to perfection. With the roller coaster of emotions the character goes through, she delivers every scene and line with the sophistication and poise that you expect – without fail.

The uplifting supporting cast includes Will Boyd as Elle’s narcissistic ex-boyfriend Warner; the poised Abby Page as her chief rival – Vivienne Kensington; the charmingly nerdy Emmett (Dylan Hodge) as the man who sees her true worth and Paulette (Lisa Mellor), whose powerhouse voice brings true authenticity to her character, the love-bruised manicurist who becomes Elle’s best friend. The second branch of the love tree brings together Paulette with her new-found love, in the form of UPS worker, Kyle Brendon O’Boyle (Lachlan Clark) – the pair were hysterical and their comedic timing was perfection.

Bruiser (McGinty) and Rufus (Bella), who play (and are) real dogs, have undeniable stage presence, with the chemistry between Rufus and Paulette giving the show an extra level of professional appeal.

There is a lot to be said for the effortlessly comedic entourage ‘Greek chorus’, in the form of the ‘Delta Nu’ girls Serena (Jaime O’Donoghue), Margot (Maddison Hutchins) and Pilar (Ellen Axford); their performance is vivacious, likeable (or dislikeable when needed) and fantastically exaggerated. For this, the audience benefits from a sense of familiarity and likeability.

Puawai Herewini was the perfect choice for the role of Professor Callahan, the ruthless villain of the show. His acting proficiency and smooth vocal ability were one of the pleasant surprises of the show. His comedic timing in the audience favourite number “There, Right, There: also known as “Is he Gay or European?” was a real standout. Adding to the list of favourites,is  Lauren Conway as accused murderer Brooke Wyndham. Her big number, “Whipped into Shape”, is no mean feat vocally let alone the fact she performs the number whilst jumping rope in what is surely an intense workout every show.

In this production, the sets were simple, quick and effective with great care taken in making the scene changes quick but not jeopardising the finer details that create the additional layers of the show. As with any musical, it is absolutely necessary to perfect the musical numbers and, boy, is Legally Blonde packed with them. It is a huge song roster to try and tackle but the band, led by Julie Whiting, hits the notes perfectly. The list of what I loved about this show could go on and on but special mention to the fine details of each of the costumes – they were picture perfect and fit the performers but also told the story, which is so important in a show as witty and quick as Legally Blonde.

Last, but certainly not least, the choreography in the bigger dance numbers was nothing short of spectacular. Choreographer Julianne Burke built layers into each number but not one performer flailed and given the difficulty of the numbers, the jump rope scene included, this would not have been an easy feat.

If you want a fun night full of laughter and enjoy shows that are smart, full of catchy songs and leave you feeling happy, Legally Blonde the Musical is the place to be.

Mel Bobbermien