Legally Blonde

On the hottest night of the year, Normanton Musical Theatre Society brought the house down with a high-energy, heartfelt performance of Legally Blonde at Normanton Junior Academy. A cast bursting with enthusiasm them delivered a feel-good musical packed with comedy, choreography, and character.

From the opening number “Omigod You Guys,” the audience was immersed in the bubbly, sorority world of Elle Woods and her Delta Nu sisters Margot (Jennifer Waring), Serena (Kelsie Kenworthy), and Pilar (Georgia Sorby). All three delivered high-energy performances with great characterisation and charisma, setting the tone for a fast-paced, feel-good evening. Enter our leading lady, Elle Woods, played by Rosalie Newton-Van Den Berg, whose natural charm and bubbly presence captured the heart of the audience from her very first scene. Rosalie embodied Elle with charisma and comic timing, particularly shining in the boutique scene, where her sharp intellect cut through the stereotype to show the "brain behind the blonde."The happiness of Elle’s imagined engagement quickly faded as Warner Huntingdon III, portrayed with suave charm and shallow self-interest by Robert Gordon, dropped a breakup bomb instead of a proposal. Robert’s take on Warner was suave, self-assured, and just superficial enough to make Elle’s heartbreak believable while still offering flashes of warmth that showed why she loved him.

Jessica Fahey’s choreography sparkled from the start, particularly in “What You Want,” which was a highlight of the first act, adapting beautifully to the compact staging. Once at Harvard, the shift in tone was effective – Elle’s optimism collided with cold ambition, and the introduction of supporting characters brought a new comic edge. Elle’s journey to Harvard saw her meet law graduate Emmett Forrest, portrayed with quiet brilliance by Dan Wilkinson. His performance was truly one of the emotional anchors of the show. With understated charm and an easy naturalism, Wilkinson made Emmett instantly likeable – a calm and grounding presence amidst the chaos of Harvard. “Chip on My Shoulder” was a real turning point, not only for Elle’s character, but for Wilkinson’s moment in the spotlight. Here, he commanded the stage with emotional clarity and strong vocals, portraying Emmett’s growing affection for Elle while encouraging her to believe in herself.

At Harvard, Elle faces a frosty reception from both faculty and fellow students. Juliette Pepper as Vivienne brought just the right amount of icy superiority in her early scenes – her line delivery was crisp, her presence imposing, and she played Vivienne’s initial disdain with conviction. Elle’s crisis point leads her to the welcoming doors of a hair salon, where she meets the big-hearted Paulette, played with scene-stealing warmth and comedic brilliance by Stephanie Bourke. Through the tender and bittersweet number “Ireland,” Stephanie brought pathos, humour, and vocal finesse, making it one of the show’s emotional high points. Her comic instincts and timing were impeccable, and she grounded the show with authenticity. With Emmett’s help, Elle’s journey from self-doubt to self-belief culminated in the powerful Act 1 finale, “So Much Better,” as she earns her place on Callahan’s legal team and begins to realise her potential beyond romance.

Act 2 launched with a bang – or rather, a skip – as fitness queen Brooke Wyndham (Chloe Butcher) made a high-octane entrance in “Whipped Into Shape.” Chloe handled the demanding choreography with impressive stamina and flair, supported by an ensemble working seamlessly with their jump ropes in what was easily one of the most technical moments of the show.

“Take It Like A Man” brought another turning point, as Emmett received his own transformation moment – suit, style, and swagger all upgraded. Dan Wilkinson once again impressed with subtle, expressive acting, showing Emmett’s character growth without losing his grounding. It was a standout moment that paralleled Elle’s evolution from earlier in the show.

No production of Legally Blonde would be complete without the iconic “Bend and Snap,” and this one did not disappoint. Energetic, cheeky, and expertly choreographed, it brought the audience roaring with laughter. Particular mention must go to Chris Littler-Moore as Kyle the UPS guy, who strutted through the scene with commanding comic presence and unmissable high-waisted tight shorts. His timing was spot-on, and his physical comedy added a whole new dimension to the character. “Gay or European” combined fashion, law, and flamboyant humour in a perfectly over-the-top courtroom sequence, where Elle’s flair met legal logic in a way only Legally Blonde can deliver. It was another moment where both leads and ensemble worked in perfect harmony to drive plot and entertain in equal measure.

As the central character around whom the entire show revolves, Elle Woods requires a performer who can anchor the production with presence, energy, and emotional range — and Rosalie Newton-Van Den Berg rose to the challenge. She demonstrated strong stage awareness and a clear understanding of the character’s journey from start to finish. Her musicality was evident throughout, and she navigated the emotional highs and lows of the role with poise. Her interactions with other characters – particularly Emmett, Warner, and Paulette – were well-judged and reflective of her experience on stage. One area for development would be to explore greater tonal variety and expression in some sections of dialogue, which would help further enhance the emotional depth and authenticity of her portrayal.

The production was directed by Emmi Huffinley, making her debut as full director, and she deserves applause for managing the pace, tone, and character arcs of a large, complex show. Going forward, it would be exciting to see how she might further explore the use of space and visual storytelling – finding creative ways to link set elements to character and story could elevate the visual polish even further.

With Musical Direction by Millie Ramsden, there was a strong focus on characterful solos and the soloists were consistently confident and well-prepared. Some ensemble harmonies, however, didn’t always land as strongly – possibly due to limitations of using backing tracks. Investing in a live band in future productions could offer more musical flexibility and a richer soundscape, supporting both singers and dramatic pacing.

Show selection is always a careful consideration, particularly for societies with a broad age range among their membership. While Legally Blonde provides dynamic and entertaining material, its themes and character dynamics are rooted in adult experiences, with the story revolving around university students and professional environments. As such, it may not have been the most suitable choice for involving some of the society’s younger members. There were moments during the production where the age gap between character and performer was noticeable, and at times, uncomfortable to watch. In future, it may be worth selecting material that aligns more closely with the age and maturity of the full cast, ensuring both performer comfort and audience experience are fully supported.

Overall, Legally Blonde was a colourful, funny, and heartfelt production that left the audience beaming. With standout performances from some of the principals and enthusiastic and energetic work from supporting cast, this production proves that Normanton Musical Theatre Society continues to grow in ambition and quality. Even on the hottest night of the year, the cast and crew didn’t just survive the heat – they sizzled.

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