Legally Blonde

It was a pleasure to attend The Manx Operatic Society’s production of Legally Blonde the Musical, with music and lyrics by Laurence O’Keefe and Nell Benjamin, book by Heather Hach, and based on the novel by Amanda Brown and the well know film. I received a very warm welcome from the Presidents, Marilyn Mawdsley and Jane Quayle, and the Chairman, Phil Bird, which set the tone beautifully for the evening. This was a fantastic production, and I was impressed by the level of talent on display, both on stage and behind the scenes. Legally Blonde is a demanding show, requiring strong vocals, sharp comedy, slick choreography, pace, stamina and a real sense of fun, and this company delivered all of that in abundance. From the moment the show began, there was a wonderful energy in the theatre, and it was clear that the cast had fully embraced the heart, humour and vibrancy of the piece.

Formed in 1949, The Manx Operatic Society is a much-loved part of the Isle of Man’s theatrical community. The programme notes reflected a society proud not only of entertaining audiences, but also of giving members opportunities both on and off stage. That spirit of inclusion, commitment and enjoyment was evident throughout the evening. There was a real sense of company, and the cast looked as though they were having as much fun performing the show as the audience were watching it.

Jeremy Tustin’s direction kept the story moving at a good pace and ensured that the humour, heart and vibrancy of the piece came through strongly. Jeremy also choreographed the production, which deserves particular recognition, as this was an incredible amount of work for one person to take on. The choreography was professional, with movement that felt fresh, sharp and character-driven rather than simply functional. Leah Carter’s work as Assistant Director supported a production that felt well organised and full of life, while Alicia Schofield, as Dance Captain, also deserves praise for helping maintain such a strong standard of movement throughout.

Musically, Chris Sullivan led the production with confidence. The band sounded full and vibrant, giving the score the punch and drive it needs. The orchestra — Ashley Cole and Ryno Potgieter on trumpet and fugel, Ben Platt on guitar, Edmund Jeffers on bass, James Davis on percussion, Jay Young on drums, Juan Wright on trombone, Naomi Cole and Mike Divers on reeds, Tom Shirtliff on violin, Jack McLean on Keyboard 3, with Chris Sullivan on Keyboard 1 and Mary Leaver on Keyboard 2 — provided excellent support. The booth singers, Phil Bird, Carolyn Davis, Rebecca Ankers, Sarah Brew and Iain Dixon, also added strength to the overall musical sound.

The technical elements were impressive. Neil Dolman’s lighting design, through his company Bright Lites UK Ltd, brought colour, pace and polish to the production and helped create the glossy, heightened world of the show. Alex Linney’s sound design really stood out for me. Sound is often one of the most difficult technical areas for amateur productions to get right, particularly in a show with this many lyrics, quick exchanges, ensemble numbers and underscored scenes. Here, the balance was almost flawless. The only slight issue was that Paulette was occasionally a little difficult to hear when there was background music or ensemble singing, but this was a small point in what was otherwise an exceptionally well-managed sound design.

Stage Manager Nancy Wheeler also deserves a special mention. The role of Stage Manager is often underestimated, yet it can make or break a production. When done well, the audience may barely notice it, because everything simply appears to happen smoothly and at the right time. In this production, the scene changes, entrances, exits, props, technical cues and overall backstage coordination were handled with confidence and efficiency. This was clearly a well-managed show, and Nancy’s work helped support the pace and professionalism of the whole evening.

Bethan Owen was every inch Elle Woods. She had wonderful stage presence, natural charisma and a warmth that made the audience root for her from the start. Elle is a demanding role, requiring comedy, stamina, vulnerability, dance ability and strong vocals, and Bethan carried the show with confidence. Her voice was stunning, and she captured Elle’s journey from seemingly frivolous sorority girl to intelligent, determined lawyer with charm and conviction. Her chemistry with David Britton’s Emmett was particularly lovely.

David Britton gave a likeable and sincere performance as Emmett Forrest. Emmett is the grounded, supportive presence in Elle’s Harvard journey, and David captured his kindness, intelligence and slightly understated charm very well. His scenes with Elle were believable and gently played, giving the relationship a natural warmth. He acted the role with thought and honesty, and his characterisation complemented Bethan’s Elle beautifully.

Ben Gale looked every inch the part as Warner Huntington III. He had the confidence, polish and self-assurance needed for the role and delivered both the acting and singing with style. Warner can easily become one-dimensional, but Ben brought a strong stage presence and a believable sense of ambition and entitlement to the character.

Tracey McCann played Paulette with warmth, humour and confidence. She held the stage well and had very good comic timing, particularly in her scenes at the salon. Paulette is a role that needs heart as well as comedy, and Tracey gave her a strong personality and likeable vulnerability. One small point was the choice of wig, which appeared grey under the lighting and therefore suggested an older character than perhaps intended, particularly as Paulette is pregnant at the end of the story. Wigs in amateur theatre can be effective when they are high quality and fully integrated into the character, but they can also unintentionally distract or alter the audience’s perception if the colour, style or fit does not look natural under stage lighting. That said, Tracey herself gave a confident and engaging performance.

Jade Ward as Margot, Alicia Schofield as Pilar, and Tara Black as Serena were an excellent trio. As Elle’s Delta Nu support system and Greek Chorus, they oozed energy, humour and brought a real sense of friendship to the stage. They captured the American student vibe very well and had great chemistry together. All three were strong triple threats, singing, dancing and acting with confidence and style.

Eve Puzzar gave an impressive performance as Vivienne Kensington. Vivienne begins as Elle’s sharp, serious and rather intimidating counterpart, and Eve played that contrast very well. She had a strong stage presence and excellent vocals, and she handled Vivienne’s later shift towards respect and support for Elle with clarity. It was a nicely judged performance, avoiding caricature and giving the character believable purpose.

David Artus was a standout as Professor Callahan. He was extremely natural on stage and brought authority, control and polish to the role. His performance had a professional quality, and he gave Callahan exactly the right level of confidence and menace without overplaying it. He looked completely at home in the part.

Lauren Newson was excellent as Brooke Wyndham. Brooke needs to be glamorous, physically strong, self-assured and vocally secure, and Lauren captured her very well. Her work in “Whipped Into Shape” was particularly impressive, especially the speed and accuracy of the skipping while singing. That number is a real test of stamina and coordination, and she delivered it with confidence and precision.

Mark Dougherty was perfect casting as Kyle, the UPS delivery man. Kyle needs confidence, comic timing and a very deliberate sense of physical humour, and Mark played him with great fun. His appearances were very well received, and he made the most of the role without pushing it too far.

Andrew Deighton as Nicos and Nathan Rea as Carlos made a very entertaining duo. Their courtroom section was played with excellent comic energy, and they captured the heightened humour of the moment very well. They worked strongly together and brought a great lift to the scene.

Jay O’Connell as Aaron Schultz and Grand Master Chad, Lois Mooney as Enid Hoopes and Sales Assistant, Hayden Vincent as Prince and Ensemble, Holly Callow as Chutney and Gaelen, Emma Chapple as Kate, Shana Corless as Leilani, Shannon Skillen as Courtney, Faiyth Challenor as Tiffany, Shannon Dallison as Sandi, Matilda Clague as Whitney, Sarah Kennaugh as Elle’s Mom and Receptionist, Neil King as Elle’s Dad and Dewey, Gill Goss as Prison Guard and Ensemble, Jazmine Hay as Cashier and Ensemble, Florrie Thomas as Dana and Ensemble, and Emma Stratford all contributed strongly to the production. Across the production, these performers brought commitment, energy and personality to their roles, helping to keep the world of the show lively and fully populated.

Phil Bird brought authority and good stage presence to the role of the Judge, helping to ground the courtroom scenes and provide a believable sense of formality amid the comedy. Nicola Openshaw also made a strong contribution as D.A. Joyce Riley, adding clarity and confidence to the legal proceedings and supporting the courtroom scenes well.

Monica George as Professor Winthrop, Mike Devereau as Professor Lowell, and Vincent Dale as Professor Pforzheimer were also very effective. They provided a good contrast to the colourful world of Elle and the Delta Nu students, helping to establish the more formal, serious Harvard environment. Their presence added to the juxtaposition between Elle’s bright, confident world and the stricter academic setting she has to prove herself within.

A special mention must also go to the two real dogs used in the production. Working with animals on stage is always a risk, as there is no guarantee how they will react in front of an audience, lights, music and movement. However, Nellie as Bruiser and Damon as Rufus played their parts perfectly. They were calm, well-handled and completely charming. The audience loved them, and their appearances added a wonderful extra layer of warmth and fun to the production.

The ensemble were one of the real strengths of the evening and gave the production much of its drive. Shows like Legally Blonde rely heavily on the full company to maintain pace, energy and atmosphere, and this cast did that very well. The big numbers had colour, movement and enthusiasm, with every performer appearing fully engaged not only in the large-scale musical numbers, but also in the smaller transitions and background moments that helped keep the world of the show alive.

The costumes, headed by Nicola Jagus and supported by Nicola Openshaw, Jane Subachus, Sarah Brew, Gaynor Denham, Pippa Edmonds, Wendy Britton and Sarah Buss, helped create the bold, pink, high-energy world of the show. The contrast between the Delta Nu world, Harvard Law and the courtroom scenes was clear, and the production had a strong visual identity. Elle’s costumes were particularly good, capturing her personality, confidence and journey through the show beautifully. They were bright, stylish and characterful, and added greatly to the overall impact of the production.

Props were managed by Victoria Corkhill, supported by Larissa Lyons, Katy Kneale, Amanda Stafford and Lyndsey Smith. In a show like this, where so many scenes move quickly and rely on small details to support the storytelling, props are an important part of keeping the production flowing. These were well handled and helped the scenes feel complete.

Wigs, hair and make-up were by Heidi Jones and Jasmine Cowin, supported by Phoebe Chell, Jasmine Colligon, Lindsey Scarffe, Sarah Kneale, Sasha Butler and Jade Fullerton. This is a visually demanding show, with a wide range of characters and a very specific style, and the overall look of the cast helped establish the bright, polished and heightened world of Legally Blonde.

The backstage crew — Paul Devereau, Ian Openshaw, John Skinner, Heather Hanniford, Esther Kilgallon, Craig Hill, Luby Gould, Clare Austin and Paul Harvey — also deserve recognition for their work. Hester Crookall as prompt and Lucy Cain on corner provided important support to the production.  The follow spots, operated by Joanna Curphey and Clare Austin, can be tricky in a fast-paced show with lots of movement, but they were handled very well and supported the production effectively.

Overall, this was a lively, polished and thoroughly entertaining production. The Manx Operatic Society should be extremely proud of the standard achieved. I was genuinely impressed by the depth of talent within the society, from the principal performers to the ensemble, orchestra, technical team and everyone working behind the scenes. There was excellent work across the board, with strong performances, vibrant musical support, effective technical work and a clear sense of company spirit. Legally Blonde the Musical is a demanding show, but this production delivered its humour, heart and energy with real confidence and joy. This was amateur theatre at a very high standard, with a level of polish, confidence and attention to detail that would not have looked out of place in many professional settings.

It takes a whole village to put on a show of this quality, and audiences often do not realise that a great production involves far more than what, and who, they see on the stage. From direction and Jeremy Tustin’s impressive choreography, through to music, stage management, lighting, sound, costumes, props, hair, make-up, prompt, follow spots and backstage crew, every department played its part in creating such a successful evening. This was a true company achievement.

Congratulations to everyone involved, both on stage and behind the scenes, for a fantastic and hugely enjoyable evening of theatre.

 

 

 

 

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