Legally Blonde

Determined to prove they’re not a one trick pony, Manchester Musical Youth reveal how adaptable and versatile the troupe are with this endeavour. Following on from a hugely successful ‘Les Misérables’ one could think “how’re they gonna top that?” but, jumping into a fresh new look and stepping away from their safe zone they pull another stonking production out of the clutch with this funny, feisty and high energy show.

This production brings new challenges for the group who have absolutely put the right wheels in motion to ensure they deliver the tasks of this production to the best of their ability, challenging themselves with more intense choreography than I’ve previously seen from MMY and, technically, the presentation and staging of this show is no mean feat!  

Based on the novel by Amanda Brown and the 2001 film of the same name, Legally Blonde The Musical is the story of an optimistic blonde who does whatever it takes to get into Harvard Law School to win back her ex-boyfriend who dumped her in favour of someone more serious (and brunette).

The common and most trying battle with stage shows that are predominantly inspired by films is the staging, the scenes are often very short with the need to jump from location to location in an instant, something which is no struggle at all for a movie!  This set was a giant and cleverly designed to incorporate the pace and complexities of the production, the finest set I’ve seen from ‘Proscenium’ in quite a while.

The crew are equally as busy as the cast with the demands put upon them to keep the show moving - from courthouse to bathroom and campus to caravan (all in the blink of an eye) are all handled with speed and skill, thanks to the hardworking backstage team who keep the production speeding along at a rapid pace with great success.

Pippa Greenhalgh takes on Elle Woods, the central character, bringing to life both the whimsical, pink-obsessed girl and serious, hard-working academic in perfect balance. With powerful vocals and delicious sass she commanded the stage from beginning to end with a character which has the potential to nark, she offered a genuine girl-next-door likability. A fine leading lady.  

Sarah Barron played Paulette, Elle’s quirky hairdresser who becomes a vital friend. Sarah was undoubtedly a crowd favourite with excellent physicality and precise timing maximising the comic effect, some of her lib was missed due to not waiting for laughter to die down before continuing and her speech (articulation) didn’t always carry but this was still a highly enjoyable performance nonetheless.  

Someone to keep an eye on is Emily Wilson, this individual has the potential to be quite special indeed, she oozes quality and can hold the stage and our attention with ease. Playing Brooke, the crucial but relatively small role, she delivered an excellent performance. I hope to see more from her in shows to come.

The Delta Nu crew were a highlight, bringing a smile and a chuckle to the most deadpan viewer with their seamless energy keeping the shows tone and manner prominent throughout which was spot on - there's never a dull moment with this clique.

Em Kitson and Sam Bate steal some of the biggest and most genuine laughs as Enid and Kyle respectively offering two sturdy, highly enjoyable supporting and comedic roles.    

Cameron Hall put in a terrific act as professor Callahan, a gentleman you warm to and trust until you’re hit with his true nature towards the end of Act II. A mature, understated and well-crafted portrayal.

Jack Gibson brings out the geeky qualities with believability as Emmett having a pleasant chemistry with Pippa (as Elle).     

This novel - come chick flick - come stage musical does not have the extensive score that musicals so heavily relied on back in the day, I mean - would this title have had a fraction of its success if it didn’t have the recognition of the film to rely on? Based on the score alone, probably not!

Let’s forget the novel for a moment, I think it’s evident that this musical was inspired first and foremost from the film (which is no negative criticism) but as is the case I find with most film to stage musical adaptations that attempt an original score (Ghost, 9 to 5, The Wedding Singer - to name a few), the significance of the music is certainly not the strongest factor of the piece, and this is no exception.

As for the book, once you get over the glossiness of proceedings, there is a substantial depth and truth to it, which I believe to be the strongest suit to the piece. Dan Jarvis directs this action packed, bright and visually satisfying production making sure the weight of the book and its message resonates, thankfully.  

A production that comprises back to back music during the entire show needs a good orchestra, something Kimberly Holden (Musical Director) is used to. Kimberly takes heed of this arduous score and gives it a good blast, no - it’s hardly West Side Story we’re working with but it was clearly no stroll in the park either with its pernickety variations and timings.

MMY are sculpting into an incredibly nifty throng, showing us they can turn their hands to almost anything, with the appointment of a new choreographer (a very promising progression) the committee are shaping MMY to become an evenly (and impressively) balanced group of performers amongst the theatrical disciplines which will, undoubtedly, open up the production titles even wider for this group to present whilst maintaining the strong standards they’ve set themselves. Will it be long before we in fact get a production of ‘West Side Story’ to showcase their pledging triple threat capability? …We’ll just have to wait and see!

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