Legally Blonde

Legally Blonde was known to me as the 2001 MGM ‘chick flick’. Although the award-winning musical adaptation has been around for 18 years, I have never seen it on stage, so I was keen to see how this girl-power story would translate.  It has all the right elements to be successful: kookie comedy, a bit of romance, fairytale plot - and cute doggies, and has understandably become a regular on the amateur circuit, appealing to a new generation of theatre-goers.  Its setting, in the academic world of college and university, necessarily calls for a large cast of student-age actors, so the youth of St Austell flocked to take up the roles, resulting in the welcome joining of several new faces.  With relatively little dialogue to advance the narrative, it relies on clear presentation of the songs to help the audience follow Elle’s determined efforts to succeed while remaining true to herself. 

The doorway to Elle’s sorority house, fronted by topiary trees and trellis, in view as we took our seats, was swiftly wheeled away as the energetic Omigod - You Guys took to the stage.  Typically that of teenage American girls, the high-pitched, over-excited, nasal twang of the voices combined with the enthusiastically loud orchestration meant that the lyrics were virtually inaudible and I could make out none of the words that introduce in detail the underlying plot (Google is great!).  Fortunately, the song has quieter interludes of dialogue, and the staging was so dynamic, with trucks moving constantly to change the setting for brief episodes that illustrated the vital points, that by the final triumphant chord and tableau, we ‘got it’!   It was certainly a vibrant opener.  A huge amount of action had taken place in those five or six minutes dazzling us with song and dance, character cameos, props, and quick changes.  We were in for an electrifying ride! 

The stage dressing of many scenes gave a richness of reality, as in details like the tables with lamps and flowers, the rails and piles of clothing in the shops, the salon accoutrements, and the girly-clutter of Elle’s room, while the minimalism of some directed immediate recognition; a flagstick and cart and we see the golf course, the WC and shower cubicle - there’s the bathroom!  The huge collection of hand props was handled with practised ease by everyone on stage;  but…!  the award for star props has to go to the outstanding Bruiser and Rufus.  Move over Toto and Sandy!  Why would you ever again want an untrained, undisciplined real dog?  The brilliantly designed and created puppets were just superb - hats off to Kathy West for her handiwork!  And Fleur Wiltshire deserves the highest praise for her puppeteering skills - keep your eyes on the puppet, never make eye contact with another performer or the audience, be invisible, make it breathe and multi-task to bring its whole body to life.  My warmest congratulations, fabulously well done.

 A cast of 30, and the majority of them doubling, tripling or even quadrupling roles!  That’s a lot of outfits, as no doubt the wardrobe team would agree.  I am looking for costumes that are character and timing appropriate, fit well, and, in a dance show, look comfortable and flexible enough for the moves.  This show is not as dressily spectacular as many, and allows the actors to wear everyday outfits in many of their student, shop assistant, or university iterations, leaving the provision of particular character clothing for selected individuals and the big flashy company numbers - the flashiest of which, What You Want, Elle’s entrance essay, was especially eye-popping.  The cheerleaders’ uniforms of silver, gold and blue, incorporating the plumed shakos of marching bands, was bright and ostentatious, and added to the exhilaration of the routine, by setting it at the heart of ‘the American Dream’.  Brooke’s fitness ‘video’ and in-jail sequence with the movers in ‘correctional orange’ jumpsuits was another co-ordinating ensemble, along with the later matching graduation gowns and mortar boards, that presented a cohesive look.  Warner’s and the professors’ suits were distinguishedly apt, and Enid’s horn-rims and fatigues genuinely grungy.  Emmett’s “ratty corduroy” was typical of the era, but the quick change on stage into a smart suit could have done with a bit more rehearsal, or a cunningly pre-contrived outfit, to give him a more convincing tidy neckline.  Vivienne looked properly prim in severe black and white, and Paulette was charmingly quirky.  Elle, who perhaps had more costumes and quick changes than anyone, was given the obligatory bubblegum pink palette, with a brief sojourn into a smart navy suit.  

The performances were all strong and confident, frequently while dancing - and how impressive was it to sing and skip simultaneously?  The score, with its multiple parts and harmonies, sounded not easy to sing, with minimal clues in the accompaniment to help.  MD Nick Long coached the cast well through the tempo and key changes, and the singing, much of it ‘belt’, was presented with evident ‘acting through song’ so that the varying emotional switches were faithfully conveyed by facial expression, varied timbre and eloquent body language.  Blood In The Water and Ireland were two particularly impressive numbers in which the singing seemed to take priority over the dancing.  The ten experienced band members gave a tuneful and upbeat backing at a cracking pace, so that the 3/4 timing of Legally Blonde, the title song and heart-warming turning point of the show, was a profound contrast, gentle, reflective and romantic.  The Ensemble were 100% engaged in their reinforcement of company numbers and backing for the first-rate leads with words securely learned, rehearsed and performed using committed performance values. 

 “Action-packed and exploding with dynamic dances”!  Jess Madeley knows how to deliver and she’s not going to miss a step.  This award-winning choreographer has the capacity to create jaw-dropping sequences of high-energy moves and get the mixed cast to perform them with conviction.   No glances left or right, always on the spot, and speedy marking without collisions had a ‘rock you back in your seat’, wow-factor, that I, for one, loved.  Sharp, precise gestures were tightly in unison, and a strong presentation of ‘attitude’, demonstrated by staccato crispness from everyone, notable in the iconic Bend and Snap, gave the movers individual characters.  The several instant freezes, had ice-block stillness even down to eyelines; so tempting to look around at what the main action is!  The breathtaking skipping sequence, whilst relatively simple in design, was remarkable for the exhausting speed of its presentation.  And because I know how difficult it is to produce a rotating diagonal line, I must congratulate you all on that.  Jess seems to allow the music to inspire the movement, so a variety of styles becomes apparent with the use of diverse groupings, artful placement on stage and striking tableaux illustrating the demand for high-quality performances that can only be achieved through diligent rehearsal.  

As well as the responsibility of choreographing the majority of the musical numbers, Jess also managed to bring to life our leading lady, Elle, in vibrant form.   She was able to make us believe in this young woman who is determined to be seen as more than a dumb blonde, and if the storyline of her eventual success seems fanciful, we must remember it is based on the true life experiences of law student-cum-novelist, Amanda Brown.  The change from heartbroken girlfriend to self-empowered, successful valedictorian was scrupulously portrayed using the triple threats of acting, singing and dancing.  Jess played opposite Ryan last year and the two appear to have a good working rapport, which means they make a comfortable and believable couple.  As Emmett Forrest, Ryan’s experienced stage presence used subtle changes in posture, eyelines and vocal delivery to show the growth of character from kind-hearted but somewhat ‘nerdy’ teaching assistant into a smart, self-confident and rounded personality thoroughly suitable to be Elle’s beau, revealed in a watchable Chip On My Shoulder.  As the catalyst for Elle’s turmoil and renaissance, Warner Huntington III was confidently portrayed by George, who showed this shallow, self-serving social climber vacillating from girl to girl with varied vocal tones and facial expressions and a secure singing voice.   He was well matched with Vienna as Vivienne, whose sneeringly arrogant new fiancée softened in a volte-face as her attitudes to both him and Elle altered.  Alice was perfectly cast as Paulette.  Her superb singing punched out the melodic Ireland with terrific storytelling in her vocal delivery, and, with lucid facial expressions, she brought a natural comedic talent to the role.  Kyle’s announcement that he has “a package” was just the funniest moment and drew my spontaneous laughter.  Why Kieran didn’t get an ovation when he exited I don’t know - if my hands hadn’t been full of notebook and pen I’d have led it.  And then the two of them delivered the ‘nose break’ Bend and Snap with hilariously immaculate timing, before sharing a glorious Irish dance duet; what a partnership!  I was particularly taken with Andrew’s presentation of Professor Callahan.  The formidable character was presented with clear diction and pinpoint discipline in movement, (hand in pocket), and controlled gestures through the lengthy Blood In The Water sequence that had well-balanced backing.  We squirmed at the sleaziness of his attempted seduction of Elle that justly deserved the bravely received real face slap, and his prompt interjections through Whipped Into Shape gave Zoe breathing space as her Brooke Wyndham sang and skipped almost non-stop.  

Once again, Kathy West has delivered the goods!  This show filled the Keay Theatre with an appreciative audience that loved the humour, the dramas, and the song and dance.  The cast had been coached in stagecraft and character development, and drilled in their entrances, exits and blocking.  The use of the stage was well-balanced with interesting and assorted groupings, and the timely moving of trucks, furniture and props had been rehearsed to be slick and competent.  The leading roles showed evidence of carefully encouraged shading in voice and body language to create believable relationships, and the physical comedy was skilfully highlighted using well-directed focus.   If I started as sceptical of Legally Blonde the Musical I have to confess I have come to regard it more highly while writing this report.  I should like to see it again - but I can’t imagine a stronger contender than this by St Austell Amateur Operatic Society.  Well done to all involved and thank you for the invitation to visit you.

 

© NODA CIO. All rights reserved.