Legally Blonde The Musical

Legally Blonde The Musical
Music and Lyrics by Laurence O’Keefe and Neil Benjamin, Book by Heather Hach. Directed by Danny Ginsberg. PLOS. Frankston Arts Centre. July 24 - August 1, 2015.

Oh My God, I adored it, I have to say

Oh My God, It’s a Triumph in every way

Oh My God, and you really must see it just ‘cos

It’s a brilliant production from PLOS.

When I had the chance to attend rehearsals a few weeks ago and write an article on this new production of Legally Blonde, I knew that it would be excellent in all respects, but nothing prepared me for the dazzling excitement of last night’s opening.

Director Danny Ginsberg had a vision; to take the rather dated and twee musical and rocket-launch it into 2015 and beyond. He shared that vision with his mate and PLOS colleague, the astonishing Mike Fletcher, and together they have created a show that zings with energy and excitement and is technologically brilliant and innovative. No more cumbersome sets or backcloths – this production is firmly aimed at 25s and under – though it is sheer delight for every one who loves musical theatre, regardless of age.

You’ll see from the photos that the main set consists of some 50 screens, including 4 iPhones – different images are projected on them all….including selfies and live tweets during the show. The effect is astonishing, and when you add the brilliant lighting design of Brad Alcock, and the star cloth which changes colours when needed (the pink is divine) and the necessary scenery on trucks so that it can be set and struck in seconds….and even a fully mobile Golf Buggy, well, the effect is frenetic and giddiness wrestles with delight for control of your senses. Some images are moving, some still…some have cryptic clues to find….like a flying Mary Poppins to announce their next production. Right from the pre-show warnings to switch off mobiles and pagers (“Dude…what’s a Pager?” through to the rolling Movie-style end credits…in which everyone including the programme sellers is credited, you are immersed in a Fantabulous experience. Ginsberg can be justifiably proud of what he thought couldn’t be done…and yet is.

For those who don’t know the story (you sir, the Neanderthal hermit on the left) Elle Woods enrols in Harvard Law School to try to win her boyfriend back and finds herself – and a new love instead. The show is full of catchy songs and strong moral values…”Don’t judge a book by its cover”, “ You are more than you think you are”, “Never give up”. It’s perhaps the most positive show in decades for a young audience.

The cast is young….most under 20, and that only serves to add credibility.

It’s hard to believe this is Tayla Thomas’s first lead role but she absolutely nails it. I adore Lucy Durack, but Tayla is the right age, has a great and rich pop voice, rather than a music theatre trained soprano, and the role fits her like a glove. She has a terrific sense of comedy and is warm and endearing. In other words, she’s Legally Perfect.

Daragh Wills, as the nerdy and studious Emmett is a STAR at 18. One can only imagine how far he could go. He has warmth, intimacy, and a voice beyond his years that myself and another critic confessed we could listen to all night. He is like a playful puppy that you want to hug, but still with great stage presence and command. What a fabulous asset for any show.

Elise Stevens makes Paulette a complete show-stopping role. She’s a marvellous performer and this role is right in her groove. The voice is enormous, matched only by the presence and she blitzes every bit of comedy.

James Terry has real class as Warner (something Rob Mills never managed to nail in the Main Stage production, and is super talented. As Vivienne, Emily Hall has vocal chops to die for (OMG!) but is also a self-assured actress. Ashlee Robinson is quite brilliant as Enid – I just wish I’d seen her play Tracey in Hairspray. Mario Moharko is impressive and in great voice as Professor Callahan; Genya Mets shines as Brooke, Aiden Niarros is a delight as Sundeep Padaman, and even better as Nikos in “Gay or European”; and Taylor Sansom (Serena), Rebecca Bull(Pilar) and Becky Hawkins (Margot) are an awesome trio as Elle’s best friends and the Greek chorus….they own the stage and have voices and high kicks to die for. Chris Higgins (Kyle) brings his astonishing physique and stagecraft to Kyle and all of the ensemble are amazing.

Even the two dogs are fabulous…and have much bigger roles than I’ve seen before. Rufus the Bulldog even takes a curtain call on his own! OMG!

If I have forgotten anyone, please forgive me. There are no weak links. MD Martine Wengrow handles the orchestra brilliantly and Karen Pottinger’s choreography is mostly simple but effective.showy without putting too much pressure on the dancers. Stalwart Brett Wingfield’s Costume Design is terrific throughout.

If I seem to be gushing…it’s because I am. Without question this is a far better production than the Main Stage offering of 2013, and it may well be the benchmark production of the show for the next decade or more. The sound could be turned down a notch as it borders on distortion….but every mic worked well and Marcello Lo Ricco is a great sound designer. And what everyone at PLOS brings is energy and 100% commitment, an enthusiasm for theatre and a love of excellence. This sets the bar very high indeed. I loved every minute!

Coral Drouyn

Photographer: Mike Fletcher

Read Coral's article about rehearsals at PLOS for Legally Blonde.

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