Legally Blonde

The very first thing I noticed upon reading the rather good programme before curtain up, was the abundance of youthful principals and, apart from the hugely respected and vastly experienced director John Harries-Rees, the same could be said of the production team. But even young folk can be relatively experienced. Among the ensemble there were a very few who shall I tactfully say, have lived a little longer, and on this dangerous subject I now beat a hasty retreat, save to say that real theatre folk never truly age, they only grow more experienced!   Phew!   ("Don't mention the war!   I mentioned it once but think I got away with it!").

I also noticed not one but two lovely dogs, Bruiser the "fearsome" (only  joking!) chihuahua, Elle's faithful companion, and Rufus, a bulldog companion to Paulette.  These two show stealers were actually Eddie and Oscar, respectively.

Rachel Kitchen as the petite "man's ideal fantasy blonde" Elle Woods dressed in trademark pink bestrode the stage like a colossus throughout. A real leading lady in every way, this young lady could act, sing and dance all supremely well and carried a natural stage charisma. Playing opposite Elle were her two show suitors;  the "brainy" - or was he really? - Warner, played in Warner's sexist class-ridden and self centred style with great believability by Matt Brading. As the more decent and ultimately successful suitor, Emmett Forrest was a nobler character altogether. George Lester, as the youthful Emmett has the presence for lead roles as he amply proved here. He imbued Emmett with a natural charm despite the bumpy ride his character endured. George's scenes with Rachel were so naturally enacted and their characters certainly had an evident chemistry. Moreover, George has a most mellifluous singing voice.

Maeve Barnes as the superior Vivienne, who eventually embraced sisterhood with Elle and had the sense to ditch the shallow Warner, gave a polished portrayal of this enigmatic character who was won over by Elle's sheer honesty and goodness, not to mention her real legal brilliance. A performance of some note.

Tom Paine played the powerful, bullying and - as later apparent - low life lawyer Callahan with great veracity. His character was deeply unlikeable, but Tom's performance quite the opposite. If Warner was just weak and shallow, Callahan was the legal snake whose fate was well deserved. Tom had a distinct stage presence throughout.

Emma Wright had a vulnerable vivaciousness as Paulette that made one warm to her character. Her comic reactions when the delivery man Kyle - a nice cameo from Ed Thomson - strutted his stuff  with obvious physicality were very well done.   Her character's warmth and honesty in the hair salon along with Emma's melodious singing, especially in "Ireland" - a most enjoyable song - elevated this performance way out of the ordinary. Clearly a performer of true class.

Catherine Quinn was the strong willed feminist law student Enid, "revealed" as a lesbian and played this rather difficult character with veracity and skill.                 

Katie Leitch had the rewarding, though complex role of the unfortunate Brooke Wyndham, only finally acquitted because of Elle's inspiration. Katie played this part wonderfully well.

The Delta Nu girls * were Elle's support throughout, creating a huge part of the show - vibrancy, energy and panache.    Their dance routines were polished to a professional standard and it was very evident how each girl was energised by all the others.    A highly attractive and big part of the show with wonderful costumes and never more effective than when they were dressed in white and only in Elle's "imagination" so to speak!

                   * Delta Nu Girls
                   Serena                  Gabby Veglio
                   Margot                  Sophie-Lee Colchester
                   Pilar                      Claire Weston
                   Kate                     Paige Fayers
                   Gaelen                  Becky Hill
                   Leilani                   Emily Evans

A host of smaller roles were played to the hilt. I would highlight the following -        Chris Madden as the definitely Gay AND European Nikos, finally outed by his enraged boyfriend Carlos in a lovely hissy fit given by Callum Roy. Chris also played Pforzheimer, doing well. Carolyn Green was a notable Judge; Gill Varon did well as D.A. Joyce Riley; David Russell and Lisa Guerriero did well as Mr. and Mrs.Woods on the golf course, vainly attempting to dissuade Elle from attempting Harvard. Davis also played Winthrop and many others all played surefooted cameo roles.

There were many highly dramatic moments in the show. Elle's pain and tears at being dumped by Warner were powerfully played; the scene at the hair salon  where Paulette told Elle of her love for Ireland; Warner and Vivienne announcing their engagement in front of Elle; Elle's joy at receiving one of the four internships;  the reveal by Brooke to Elle of her alibi - secret liposuction, which, though sounding faintly ridiculous as a dread career endangering secret, was still truthful in its intensity; Callahan coming on to Elle was a shocking moment played for real and one really felt her shock and feeling of betrayal.

The whole court scene and the set was of a high standard with the passions running high and excitement building. The company gave sterling support in this and most other scenes. Elle's final rejection of her dream man, Warner, and her realisation that she was a deeper, more intelligent, more honourable person than he, was well enacted with her song "Find My Way" letting him down lightly in direct contrast to his first act song "Serious" when cruelly dumping her. Both were skilfully sung with differing emotions.  

I greatly appreciated the energetic opening number by Elle and the Delta Nu girls in "Omigod You Guys", though the too strong percussion somewhat overpowered the clarity of some lines. "The Harvard Variations" scene was excellent by all and the "sharky" "Blood in the Water", insistent and menacing in it's ruthlessness by Callahan. This number was well contrasted with the determined but decidedly good nature of Elle and most, though not all, of the company besides.

Paulette's Ireland song and reprise were moving and touching, with mellifluous effect in the singing. Brooke's gym scene, "Whipped into Shape" was both exhausting and enjoyable to watch. The "Bend and Snap" girls was a lovely scene with great humour; humour being never far away at all in this upbeat show. The "Gay or European" - in fact  both - was a comic delight with insistent energy. Pace and energy were watchwords in this production. Another lovely and effective mood change was when Elle emerged from what was the hair salon closet, suddenly clad in pink with an accompanying never-say-die fresh determination. There were many skilfully done mood changes in the whole production, with apt lighting.

The Legally Blonde number with  Elle was special with emotional energy and great use of the stage. "The Remix" with Vivienne and many others was also excellent, including a terrific dance routine set by the joint choreographers Kelly Neilson and Sarah Platt whose work on the show was outstandingly devised and carried out.

Martin Sargeson the M.D. did a fine job with his ten strong band who played in all no fewer than eighteen instruments. A strong and at times sparkling sound was in evidence even though some voices had not the richness and resonance of the main principals, who could all really sing.

There were many stunning costumes, courtesy of Gill Varon and Abigail Wingfield. A special mention of those for Elle and the Delta Nu girls.

Lighting was again by the ever reliable Richard Pike - who seems to light every show I see in Surrey. I can quite see why! Pat Waugh and Jake Page most  assuredly too, worked the follow spots, a difficult and vital task. Lighting was used especially well to support the many mood changes.

Stuart Vaughn was in charge of Sound Design and Operation, another man much in demand. Jacky Cook and Sandra Mortimer ably assisted. The sound was rigged by Stewart Epps and the technical co-operation throughout this company with it's strong and numerous  stage team under S.M. Sarah Wood, with D.S.M  Joann Epps, ASM'S  Amanda Elsbury and Rob Gow and a numerous and well drilled crew ensured almost invisible set changes. So many who see shows are blissfully unaware of the vital importance and dedication so willingly provided by very many skilled and humble techies. But their skills can make or break a show. Definitely NO breaks here!

Another key factor in the success of amateur theatre is the friendliness and assurance so willingly given by front of house people. HMOS can boast - though they never do actually "boast"- a numerous and able team.

 A praiseworthy mention for the colourful, well put together programme containing quality pics, comprehensive notes and a full section about NODA - always a good start when receiving a NODA Review!

However, in true theatre style I have saved the palm for the very last and that is, obviously, for the prodigious and inspirational director  John  Harries-Rees,  the "chess grandmaster" plotting his moves way ahead and brilliantly, meticulously, moving his cast with creative genius and impressive overall vision and execution.

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