Legally Blonde

Adapted from the movie about a not so dumb blonde girl who loses the love she’s been chasing, but finds new belief in herself, Legally Blonde was a triumph as a movie, but a mixed success as a musical. With no obvious hit numbers or 11 O’clock smashes, it relies on a steady but not exceptional score and book and the strength of the production. The last mainstage production in Australia was fairly lacklustre, and I can’t say I liked it. What I CAN say about this Footlight production is …I absolutely, positively and without reservation LOVED it. This is truly 5 STAR Musical Theatre for the widest demographic. Let me show you why.

*1. Energy Energy Energy. There is so much energy on the stage at any given moment that you could pay your power bill for an entire Melbourne winter. The electricity is palpable from every single person on stage. So many times a show is let down by low energy levels, but here it was the opposite. The whole theatre became charged, feeding off the electricity generated on stage. And it seemed like the cast too were loving every minute

*2. Direction. I’ve reviewed Alister Smith’s work several times of late and it just keeps getting better. He doesn’t just have a feel for musicals…but for character as well, something which isn’t always given enough attention. He knows exactly how to connect with an audience and his casting skills are exemplary. He directs with deep truth and commitment, and the result is always greater than the sum of its parts. I’m a big fan.

*3 Choreography. I’ve never classed this as a dance show...until now. Ashley Boyd has created routines which are an absolute joy to watch, and she uses all her dancers to their best advantage. “Whipped Into Shape” is the finest version I have seen of this number. How the dancers manage the triple jump skipping and still sing live is astonishing. All the routines are difficult and showy and brilliantly rehearsed and executed. They’re a joy to watch.

*4 The Band. Musical Director Dan Heskett leads a kickass group of local musicians who, though having the wobbles for the first 30 seconds of the overture, settled to provide first class backing for the performers. A shout out to drummer Felix Rankin who provided great drive while keeping perfect tempo. Great “pit” drummers are scarce and much of the energy for the show came from him.

*5 The Cast. Well, it is definitely a five star cast so I had to leave it till last. I have never seen a show where there is not one single weakness in casting. It’s stellar and worthy of any stage anywhere. To see so many triple threats on one stage in one performance is a treat I never expected.

Morgan Dooley-Axup as Elle sings up a storm and brings a lump to our throats in the moments of pathos. She really has it all and takes full command of the stage at every entrance. It took a while for accent and diction to meld, but she is a powerhouse of talent. It’s a five star performance.

Aidan O Cleirigh is not the usual bumbling Emmett Forrest. He’s endearing and charmingly nerdish with a simply stunning voice and head notes to die for. His vocals are exemplary throughout. He has a quiet assurance and charm on stage that most leading men have to work on. His Emmett is simply adorable and knows exactly who he is. If Elle hadn’t fallen for him, half the female audience would have.

Hayley Wood kills it as Paulette. It’s a dream role and she makes sure we all dream along with her, and cry along with her as well. She delivers both chutzpah and pathos and her number “Ireland” is an absolute delight. It’s a high impact performance and she owns it completely. Perfect casting.

Nathan Fernandez is quite simply brilliant as Professor Callahan. His big number “Blood in the Water” was played with finesse and class and totally without mercy. He was wonderfully chilling and sleazy and deserves a job with the US DOJ immediately. I don’t know him as a performer but I’ll look forward to his next show. An asset to any cast.

Josh McGuane is suitably “up himself” as the supercilious Warner. A really strong and credible performance and, again, delightful vocals.

Cassie Chappell is the perfect Vivienne - hard and brittle on the surface but soft-centred when it matters. Countering her is Nina Chivers as the gay Enid, finding a voice among her mostly male classmates. Her transition from wallflower to proud lesbian is a delight.

Tylor-Rose Shattock is a revelation as Brooke Wyndham, on trial for murder. It’s a small role but Tyler makes a banquet of it. A lovely dancer, incredibly fit and with all the charisma one would expect from a TV Icon, she’s a show-stopper during her number “Whipped into Shape” and well deserved the riotous applause.

Elle’s three best friends, and the core of her Greek Chorus, are all individually excellent.

Ali Simpson as Serena, pulls focus with her looks and stunning dance lines, but never overplays. Another triple threat with great vocal range, she is always a presence to be noted. Katie Loxston as Margot is delightfully gauche and has real comic talent and Molly Jones as Pilar adds more great dancing and fine vocals.

I must mention the deliciously camp cameos by Damian Caruso as Carlos and Callum Smith (Nikos). Throwing their lace edged Calvin Kleins in the face of wokeness, these two had a ball going so far OTT they fell of the planet. Just delicious. And Tom Membrey (Kyle) has legs which did more for this old lady’s heart than a pacemaker. All jokes aside, he was perfect as the hunky object of Paulette’s affections.

It’s a huge cast and if I have left anyone out it is NOT because they weren’t impressive. It truly is a cast to die for.

The set is minimal but perfect. The costumes and wigs were impeccable, and sound and lighting were a treat.

And that’s why it is 5 stars all the way.

If you can get to Geelong in the next week and see this, you will be reminded of why we need joyful and beautifully crafted musical theatre…and always will.

Coral Drouyn