Legally Blonde

After Two year of being away, Tudor were back with a bang with the fast moving production.  Elle Woods is dumped by her boyfriend Warner who goes off to Harvard Law School. Determined to get him back, Elle follows him to Harvard eventually outdoing him both academically and in her search for love.

This was indeed a production which oozed high energy from start to finish with some excellent individual performances. Elle is rarely off the stage and Kate Millington gave a magnificent performance in this very demanding role. She never faltered in her characterisation or vocally and looked wonderful never appearing phased by the quick costume changes. She is supported on her way by her ‘Greek Chorus’ who were superb and must be applauded for their slickness in their detailed choreography and who worked well as a unit never missing a beat. Margot (Janine Henderson), Serena (Charlotte Jervis) and Pilar (Emily Glasgow) were outstanding leaders of this sassy group.

Elle is befriended at university by Emmett (Ben Foulds) who conveyed a sense of empathy in his support for Elle and whose warm singing voice I particularly enjoyed. Elliot Beech was an excellent Professor Callahan commanding the stage bringing great depth to the character. ‘Blood in the Water’ perhaps one of the most melodic numbers was sung with ease and clarity. Before going to Harvard Elle meets up with beautician Paulette (Natasha Cartwright) who persuades her not to change from blonde to brunette. Paulette’s solo number ‘Ireland’ was sung with great passion and power. She has some very funny lines and Natasha gave a very strong performance with good comedy timing and facial reactions particularly when Kyle (Pat Jervis) arrives with his 'package’. This may have been a small cameo role but Pat certainly made an impact!

When Elle does meet up with her ex boyfriend she finds he has a new girlfriend. Alan Rowe was well cast as the ambitious Warner.  Emma Hill was the perfect Brooke Wyndham who led the most fantastic ‘Whipped into Shape’. The ensemble here showed immense agility in this very physical number with skipping ropes and no hitches or trips.

There are many supporting roles all of which were well portrayed but special mention must be given to Alex Nash (Carlos) and Neil Ward (Nikos) who were hilarious in the court scene and ‘Gay and European’

Richard Poynton’s production was a joy to watch and it was supported well by Aimee Holding’s choreography.  The orchestra sounded good, under the direction of David Hebden, as they did not drown out what was going on on the stage.  Costumes looked good and the lighting was well looked after by Going Dark.

Congratulations Tudor on this production.  Thanks for the invite and it’s good to have you back on stage.

 

 

 

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