Legally Blonde

Legally Blonde is one of those musicals that just makes you smile. Packed full of catchy tunes, tonnes of humour and more pink than is probably healthy, it’s impossible not to feel good after you’ve seen a good version of it – and this wasn’t just good, it was great. Right from the start of the show with the high energy vibe of "Omigod You Guys" it started with pizzazz and didn’t stop until the end of the bows when the screen came down.

It’s great to see the Hawth used to full effect with all the supporting tech it can bring: including set flying in at the back of the stage for the windows of the salon, and so many moveable set pieces such as bedrooms, doors and lecture halls. The set changes were smooth and not distracting, and the sets were not over complicated either, they were just right. The lighting in support helped underscore the mood with different colours for Elle’s bedroom, the classroom and the courtroom – and walking in the night accomplished with follow-spots giving us the feeling that Elle is feeling alone and isolated. It showed such thoughtfulness and a wonderful attention to detail which was beautifully realised on the stage.

The music by the 12 strong unseen orchestra led by Musical Director Karen Franks worked really well to accompany the whole show, including background in places, but also in lovely balance with the voices, enabling the audience to hear the often hilarious words of the songs. “Ireland” sung by Paulette is one, showing her naïve view of the world and of romantic love which is both sweet and sympathy invoking at the same time as being hilarious. At the end of the song the whole audience was willing her to meet her ‘Brendan’.

Legally Blonde lives or dies by its casting of its lead character: Elle Woods, and Rachel Geraghty was simply perfect for the job. Her effervescent charm, her not too saccharin sweetness helping the audience feel everything with her rather than being too much. Sometimes she held the stage alone with all her many songs which was beautifully pitched, in character portrayal as well as vocal range. Her singing is glorious, including taking the energy to a sad and lonely place in the titular “Legally Blonde”. We need these moments before we go up again with her on her journey: a difficulty to overcome makes the hero’s journey all the more satisfying. She held the audience in the palm of her hand with modesty and groundedness, never once taking on any diva moments. It was truly beautiful to watch her perform.

The cast all did a remarkable job with some lovely characterisation, and it would be difficult to pick them all out. Cheryl Hacker stood out as an incredibly funny, naïve, confidence seeking and occasionally vulnerable Paulette with a gorgeous soaring pitch perfect voice. Hannah Perkins was seriously impressive as Brooke in her skipping while singing moments, and freeze framing in almost impossible poses while they ‘pause’ the video. Tom Paine’s voice was wonderful to listen to as Callaghan, really embodying the unenviable character with wonderful commanding stage presence. David Harries-Rees was a lovely geeky then transformed into handsome Emmett, and had a lovely and believable dynamic with Rachel as Elle. Alex Reed was really wonderful in the dual roles of Kyle with the perfectly exaggerated slow humorous swagger, and the ex-royal Russian student: we all wished for Paulette’s dream to come true.

Mention must be made of the two stars: Popcorn playing Bruiser Woods, and Rufus played by Nya. They almost stole the scenes they were in with cuteness overload. It was truly brilliant to see not only one but two real dogs in the show, and so calm, trained, and well behaved as well. There are also some special moments in the show, such as the moment where one of Elle’s friends has a conversation with Bruiser, imagining him talking back to her, including the mis-heard imagined reply of Elle being stuck down a well: this harking back to the sweet TV shows of old was guffaw funny. Another was the Department store perfume sprayer when Elle and Emmett go shopping, spraying “sub-text, by Calvin Klein”, which was delivered with such style it was hilarious.

Everything worked in this production: the attention to detail went right down to the costumes, makeup and Elle’s bedroom with stuffed animals and make-up, with more pink and shades of pink in one place than has ever been seen before by a Hawth audience. And while Legally Blonde is a quintessential feel good musical, it also has some serious notes about women in the workplace, and how women are judged, pigeon-holed and boxed up by just how they choose to appear. It encourages empowerment, of overcoming obstacles, of realising that just because someone is beautiful and expertly coiffed, they might also have a hugely intelligent brain. Elle reminds us all about integrity, and the confidence to be yourself. Let’s all have some snaps™ for that – and for everyone involved in this truly wonderful COS production.

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