Showing posts sorted by date for query Legally Blonde. Sort by relevance Show all posts
Showing posts sorted by date for query Legally Blonde. Sort by relevance Show all posts

Thursday 17 March 2022

Regent's Park Open Air Theatre Announces Principle Cast for Legally Blonde


Regent’s Park Open Air Theatre have today announced principal casting for their forthcoming production of Legally Blonde (13 May-2 July), along with the full creative team.

Courtney Bowman takes the central role of Elle Woods. Courtney previously appeared in SIX (Arts Theatre/Lyric), Everybody’s Talking About Jamie (Apollo/Sheffield Crucible), Blondel (Union) and The Wind in the Willows (UK Tour). Courtney can currently be seen as Small in the hit children’s CBeebies show Big Cook Little Cook.

Directed by Lucy Moss, co-director and co-writer of SIX, Legally Blonde is written by Laurence O'Keefe and Nell Benjamin (music and lyrics), Heather Hach (book) and is based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture.

Also joining the cast are Michael Ahomka-Lindsay (Emmett), Lauren Drew (Brooke), Vanessa Fisher (Vivienne), Isaac Hesketh (Margot), Nadine Higgin (Paulette), Alžbeta Matyšáková (Enid), Eugene McCoy (Callahan), Grace Mouat (Pilar), Alistair Toovey (Warner), and Hannah Yun Chamberlain (Serena).

Full casting will be announced in due course.

Legally Blonde is created by Cassiopeia Berkeley-Agyepong (dramaturg), Cat Beveridge (musical supervisor), Jean Chan (costume designer), Shanaé Chisholm (casting assistant), Natalie Gallacher CDG for Pippa Ailion Casting (casting director), Tony Gayle (sound designer), Phillip Gladwell (lighting designer), Ainsley Hall Ricketts (assistant choreographer), Laura Hopkins (set designer), Barbara Houseman (voice & text and season associate director), Majella Hurley (dialect coach), Ellen Kane (choreographer), Ingrid Mackinnon (season associate: intimacy support), Lucy Moss (director), Priya Patel Appleby (associate director), Chris Poon (assistant musical director), Alexzandra Sarmiento (assistant choreographer), Amber Sinclair-Case (associate director) and Katharine Woolley (musical director).

Regent’s Park Open Air Theatre’s 90th Anniversary season also includes 101 Dalmatians (12 Jul – 28 Aug), a newly commissioned musical written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris, based on the book by Dodie Smith. Antigone (3 – 24 September) by Barber Shop Chronicles writer Inua Ellams after Sophocles, is the second commission from the theatre in 2022, directed by Max Webster and co-directed by Jo Tyabji.
 

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Tuesday 1 March 2022

Cabaret at the Kit Kat Club Announces New Emcee and Sally Bowles


The producers of CABARET at the KIT KAT CLUB in London’s West End are delighted to announce that Fra Fee will play ‘The Emcee’ and Amy Lennox will play ‘Sally Bowles’ from 21 March – 25 June 2022. This unique production opened in December last year to critical and audience acclaim, widely praised as the ultimate theatrical experience.

 

Adam Speers, Ed Bartlam and Charlie Wood, the producers of Cabaret at the Kit Kat Club said today “We are thrilled to be welcoming the perfectly marvellous Fra Fee and Amy Lennox to our production of Cabaret. We wanted to recast these career defining roles with exceptional actors and so we’re just delighted that the stars have aligned with both Fra and Amy’s schedules.  We couldn’t have asked for a more exciting and thrilling duo to follow Eddie and Jessie.”

 

Director Rebecca Frecknall said today “It's always exciting to be able to keep a production live and evolving across its run, to be able to continue digging into the piece and making new discoveries. The fact that we will have new actors taking on the roles of Sally and the Emcee as Cabaret continues to run in the West End is thrilling, the original cast passing the baton to different actors who will bring their own perspectives to the work. I'm thrilled that Fra Fee and Amy Lennox will be the first new pair joining the production this Spring, two of our most exciting stage and screen actors. I know they will bring new creative energy to the production and will show me and our audiences new facets of the show.”

 

Fra Fee most recently starred as Kazi in the hit Disney+ series Hawkeye, set in the Marvel Cinematic Universe. He created the role of Michael Carber in the award-winning play The Ferryman at the Royal Court, the Gielgud Theatre in the West End and the Bernard B. Jacobs Theatre on Broadway. His other theatre credits include Owen in Translations and Amiens in As You Like It, both at the National Theatre and the title role in Candide at the Menier Chocolate Factory. He played Courfeyac in the film of the musical Les Misérables and also appeared in the stage production at the Queen’s Theatre.

 

Amy Lennox received an Olivier nomination for Best Actress in a Supporting Role in a Musical for her portrayal of Lauren in the West End production of Kinky Boots. Her other credits include Ellie in the London premiere of the David Bowie and Enda Walsh musical Lazarus. She was in the original West End cast of the musical Legally Blonde and created the role of Doralee in the original UK production of 9 to 5 The Musical.

 

Fra and Amy appeared together in the critically acclaimed production of The Last Five Years in Belfast.

 

Also joining the production on 21 March 2022 will be Omar Baroud as ‘Cliff Bradshaw’ and Vivien Parry as ‘Fraulein Schneider’. Continuing in their roles will be Elliot Levey as ‘Herr Schultz’, Stewart Clarke as ‘Ernst Ludwig’ and Anna-Jane Casey as ‘Fraulein Kost’.

The cast is completed by Josh Andrews, Emily Benjamin, Sally Frith, Matthew Gent, Emma Louise Jones, Ela Lisondra, Theo Maddix, Chris O’Mara, Daniel Perry, Andre Refig, Christopher Tendai, Bethany Terry, Lillie-Pearl Wildman and Sophie Maria Wojna.

  

Omar Baroud (Cliff Bradshaw) is soon to appear in the series Wedding Season for Disney+. His other TV credits include Baptiste for the BBC and The Innocents for Netflix. His theatre credits include You Bury Me for Paines Plough, As You Like It at the Watermill Theatre, A Song at Twilight at the Theatre Royal Bath and All Places That The Eye of Heaven Visits at Shakespeare’s Globe.

 

Vivien Parry (Fraulein Schneider) has appeared in many West End productions including Madge Hardwick in the original cast of Top Hat at the Aldwych Theatre, Madame Thénardier in Les Misérables at the Queen’s Theatre, Donna in Mamma Mia! at the Prince of Wales Theatre and Mrs Walshingham in Half A Sixpence at the Noel Coward Theatre. Vivien’s other credits include Twelfth Night and The Shoemaker’s Holiday, both for the Royal Shakespeare Company and Celia in The Girls at Leeds Grand Theatre.

 

Elliot Levey (Herr Schultz) most recently appeared in Nine Lessons and Carols at the Almeida where he also appeared in Three Sisters. His other theatre credits include the West End productions of Mary Stuart at the Duke of York’s Theatre, The Ruling Class at Trafalgar Studios and Much Ado About Nothing at the Wyndham’s Theatre. His National Theatre credits include The Habit of Art and His Dark Materials.

 

Stewart Clarke (Ernst Ludwig) most recently appeared in Be More Chill at The Other Palace. His West End theatre credits include Fiddler on the Roof at the Playhouse Theatre and Loserville at the Garrick Theatre. He also appeared in Assassins at the Menier Chocolate Factory and The Rink at the Southwark Playhouse.

 

Anna-Jane Casey (Fraulein Kost) was most recently seen in Girl from the North Country at the Gielgud Theatre in the West End. Her other West End credits include Mrs Wilkinson in Billy Elliot at the Victoria Palace and Lady of the Lake in Spamalot at the Playhouse Theatre. She played Dot in Sunday in the Park with George at the Menier Chocolate Factory, Mabel in Mack and Mabel at the Watermill Theatre and the title roles in Piaf and Sweet Charity and Violet Butterfield in Flowers for Mrs Harris, all at the Sheffield Crucible.

 

In a time when the world is changing forever, there is one place where everyone can be free… Welcome to the Kit Kat Club, home to an intimate and electrifying new production of CABARET. This is Berlin. Relax. Loosen up. Be yourself. 

 

The Kit Kat Club has laid siege to the Playhouse Theatre. The performers have infiltrated the premises. The artists have staked their claim. Who knows for how long they’ll stay, but for now they are enjoying the party. The party at the end of the world.

 

Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a 'club entry time' to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

 

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

 

CABARET is directed by Rebecca Frecknall (the Almeida’s Olivier Award winning Summer and Smoke, The Duchess of Malfi, Three Sisters), set and costume design is by Tom Scutt (A Very Expensive Poison, Constellations, King Charles III, Jesus Christ Superstar, collaborations with Sam Smith, Christine and the Queens) with choreography by Julia Cheng (founder of the House of Absolute, Philharmonia Orchestra Artist in Residence, recipient of the runner-up prize for Hip Hop Dance futures, Resident Choreographer for the Royal Academy of Dance, Judge and mentor for BBC Young Dancer and Breakin’ Convention – the UK’s biggest Hip Hop Festival, collaborations with London Fashion Week, Google and Dr Martens). Musical supervision and direction is by Jennifer Whyte (Les Misérables film, Caroline Or Change, Parade). Lighting design is by Isabella Byrd (Heroes of the Fourth Turning and Light Shining in Buckinghamshire – both in New York, Daddy – A Melodrama at the Almeida and The Flick at the National theatre) with sound design by Nick Lidster (City of Angels, Passion, Pacific Overtures and Parade at the Donmar Warehouse, Sweeney Todd and On The Town for English National Opera, A Chorus Line, Les Misérables and Miss Saigon). The casting director is Stuart Burt (& Juliet, The Drifters Girl and 2021 CDG Award for Best Casting in Theatre for Cyrano De Bergerac) and the associate director is Jordan Fein.

 

Tickets for CABARET at the KIT KAT CLUB are currently on sale until October 2022. kitkat.club

CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.

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Thursday 10 February 2022

Full Main Stage Line Up Announced for the 2022 Gaiety Musical Theatre Festival


The Gaiety Musical Theatre Festival is pleased to announce the full main stage line up for this year’s festival at Ragley Hall, Warwickshire.
 
Britain’s Got Talent Winners Collabro, West End and Broadway star John Owen-Jones (Les Misérables, The Phantom of the Opera), direct from London’s West End Sophie Evans (Wicked, Wizard of Oz) and musical theatre star Lauren Samuels (Bend It Like Beckham, Grease).
 
They will join fellow headliners Kerry Ellis (We Will Rock You, Wicked, Oliver!), Lee Mead (Joseph and the Amazing Technicolor Dreamcoat, Wicked, Legally Blonde the Musical), Cassidy Janson (&Juliet, Beautiful: The Carol King Musical, Avenue Q) and Marisha Wallace (Dreamgirls, Hairspray, Waitress) at Gaiety Musical Theatre Festival on Sunday 1st May 2022.
 
Gaiety Musical Theatre Festival, which will take place in the beautiful grounds of Ragley Hall in Warwickshire and is set to become a new highlight of the theatrical calendar.
 
This brand-new musical theatre event is a must-see for any theatre fan, with ten hours of spectacular entertainment across several stages, family fun at the fairground, and a profusion of excellent food, drink and delights in the festival village.
 
The London Musical Theatre Orchestra will accompany the star-studded main stage line-up.
 
Further artists to be announced.
 
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Saturday 13 October 2018

Lucie Jones, Live at Zedel | Review


Lucie Jones (Concert) 
Crazy Coqs, Zedel
Reviewed on Friday 12th October 2017 by Olivia Mitchell 
★★★★★

One of my first ever reviews on Rewrite This Story, was of Lucie Jones' cabaret at Waterloo East where I completely fell in love with her insane voice and magnetic personality. In the two years since that concert, Lucie has  starred as Elle Woods in the UK tour of Legally Blonde, wowed as Maureen in Rent and was the UK's entry in the Eurovision contest... I guess you could say it's been a pretty quiet time for her?! I have been lucky enough to see Lucie in her various roles, but there's always something special about a solo concert.

The Zedel consistently provides the perfect atmosphere for a cosy, intimate night and allows the sole focus to be on the outstanding vocals of whoever is performing, so seeing such a talented vocalist take the stage there was a real treat. From the get-go Lucie commands the space and welcomes us into, what feels like, the inner circle. Her bouncy humour and infectious personality puts us completely in the palm of her hand and allows us to experience a carefree night of laughs and joy, whilst our attention never wavers. In my experience of musical theatre cabarets, there are only a number of performers who are able to capture a crowd so effortlessly and remain natural and unforced throughout, Lucie has truly mastered this and it's clear why she has so many loyal fans.

Despite only having about 24 hours to put this concert together, the entire thing felt sleek and polished. MD for the concert was the outstandingly wonderful, Sarah Travis who looked and sounded as if she was born to play the piano. The banter between the pair is hilarious and they work together so well, that even moments which go slightly wrong, almost feel as if they're scripted.


I would talk about each song on the set list, but every single one was a highlight. From the opening The Winner Takes it All to the closing Eurovision song, Never Give Up On You, Lucie showcased her incredibly well supported vocals  and ability to act through song. Particularly impressive, is the control in Lucie's voice; her well-honed technique is evident through her smooth mix of straight tone and vibrato, as well as her effortless mix and belt. A stand out moment for me was the mesmerising If I Loved You, where we got to see a more nuanced, gentler side to Lucie. She truly is a masterful performer and the hard work she puts into her craft is clear in every second she is on stage.

Although every song was outstanding, I will fangirl a bit more and mention a few of my other favourites... As a huge Anastasia fan, I adored the lyrical, Disney-esque rendition of Journey To The Past; the intensely beautiful, Nothing Stops Another Day pulled at my heart and That's Life is made for Lucie's voice. Alongside stellar vocals, Lucie provides some cracking anecdotes and ad libs which could be a comedy show of their own!

We were also treated to two special guests: Danny Mac and Rebecca Stenhouse. Rebecca Joined Lucie as they channeled Cady and Janis in the Mean Girls jam, Apex Predator, before Rebecca performed a fantastic version of Hopelessly Devoted To You, which she made feel contemporary with some added riffs and option ups. Danny took on the role of Dr. Pomatter in a sickly sweet performance of It Only Takes a Taste from Waitress and brought a beautiful stillness to the Zedel with his performance of It All Fades Away.

I could rave about Lucie's voice for approximately the next 400 hours but I'll wrap it up here and say that if you turn down the chance to see Lucie in any future performances, you are missing out big time. If you want to see a truthful artist who is so giving in her performance and able to magnetise a crowd toward her, then go and witness the star that is, Lucie Jones.

photo credit: Olivia Mitchell
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Wednesday 3 October 2018

Mean Girls, August Wilson Theatre | Review


Mean Girls
August Wilson Theatre
Reviewed on Wednesday 19th September by Olivia Mitchell
★★★★★

It lives up to the hype. It truly lives up to the hype.

Mean Girls follows Cady Heron, who moves from the wilds of Africa to the wilds of suburban America, where instead of facing lions, malnutrition and loneliness, she faces boy drama, social issues and the struggle to stay true to herself. Shortly after joining North Shore High School, Cady is shown the various cliques that inhibit the halls. When the most popular girls at school, The Plastics, invite her to join their group, her real friends see it as a perfect way for her to go undercover and infiltrate the cool kids who rule the school.

The musical is based on the 2004 movie of the same name, written by Tina Fey who adapted her own work from screen to stage. The music is by composer of various television songs and Tina's husband, Jeff Richmond, lyrics are by Nell Benjamin who also wrote for other hit screen to stage musical, Legally Blonde. This is a super high energy musical which is perfect for all audience types (although perhaps a little mature younger children).

There are mixtures of sounds and styles which makes this musical feel very fresh in the current theatre climate. There's pop, contemporary musical theatre, soft-rock, classic musical theatre and so much more which brings the show right up to date and keeps the audience on their toes. Each character has it's own musical feel which fits perfectly; Regina for example has slow, drawn out music which keeps us all in her web of power, whilst Gretchen has to sing everything quickly so as not to be cut off by Regina and Cady's songs are all very Disney-esque and flouncy. The songs of Mean Girls are sure to become regulars in rep folders, karaoke essentials and just earworms in general. 


Ashley Park as Gretchen Wieners is so solid and provides a masterclass in committing to your character and putting the work in to make you believe every moment. She is hilarious and vocally stunning as Gretchen but the way she embodies the character is truly what makes the performance special. Kate Rockwell is dippy to perfection as the iconic Karen Smith and she really shines during Sexy which has the audience howling. Jennifer Simard is hilarious and versatile as Mrs Heron/Ms Norbury/Mrs George. Her voice is outstanding and she again brings the memorable moments of the film to life but puts her own spin on them. 

At this performance, Cady Heron was played by understudy, Becca Petersen who is wonderful in the role both vocally and acting wise. Compared to the film, I felt much more sympathy for Cady and due to her kindness and innocence, found her a much more likeable character. Her being drawn to the allure of popularity feels natural although we still see the awful way she abandons her true friends.

Barrett Wilbert Weed as Janis is outstanding. From the first moment of Cautionary Tale she is completely natural in the role and it feels as though the real Janis has been plucked out of Illinois and placed on the August Wilson stage. Her best friend, partner is crime, Damien is played superbly by Grey Henson who is comedy on feet and it feels as though it was written in the stars that he would play the role.


The stand out of the show has to be Taylor Louderman who is everything and more as the head Plastic, Regina George. Her voice soars so effortlessly that it's like she's being auto-tuned in front of our eyes. Again, the way Taylor embodies Regina is mesmerising to watch and she is so spot on with every aspect of her performance. Someone Gets Hurt and World Burn are two of the best theatrical moments I've ever experienced.

Technically this show is sensational. The sets by Scott Pask are super simplistic but work well in a jenga-like way to transport us to the few locations of the show; with the screens not only bringing the show into the digital age, but providing constant stimulation for the audience. Modernity is also brought through Gregg Barnes' costumes which are intimately thought out. The Plastics of course, are dressed like they're constantly at an afternoon tea but the rest of the cast look like real, current students. So often with shows set in High Schools, the costumes are unrealistic or even outdated; the playbill states the the show takes place in "The Present" so it will be interesting to see whether the costumes change over time to fit with trends or whether the show becomes synonymous with 2018. Small details such as  the theatre 'geeks' wearing actual show merch and Janis letting her hair grow out (perhaps symbolising her desire to avoid conformity), make the show feel truthful and grounded.


Tina Fey's book brings all our favourite moments from the Mean Girls film to life but the addition of new witty one liners and more character development means nothing feels recycled. Mean Girls is fresh and funny as well as having a strong moral heart which highlights bullying and acceptance. If you want a grool night out, get yourself along to the August Wilson theatre... and for us in the UK, lets start a stagey prayer circle for a West End transfer!

photo credit: Joan Marcus
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Friday 14 September 2018

Heathers, Theatre Royal Haymarket | Review


Heathers
Theatre Royal Haymarket
Reviewed on Monday 10th September 2018 by Olivia Mitchell
★★★★

Every so often a show comes around which receives an exceptional amount of hype and has the West End buzzing. Heathers is currently that show and the good news is that it truly lives up to it. Based on the 1989 film starring Winona Ryder, this musical adaptation is full of energy and humour as it balances the line between political correctness and incorrectness. We find ourselves drawn towards the darkness but also cringing at the atrocities that go on.

Laurence O'Keefe had huge success with his adaptation of Legally Blonde and has applied his winning formula once again to bring this show to life with a camp, sassy and at times melancholic score. The plot follows Veronica Sawyer, a girl who is 'different' to the others at her school and longs for unity between all cliques and social standings. However, in order to make it through High School, she befriends the rulers of the school, the "lipstick gustapo" made up of three girls named Heather. Our protagonist then meets a brooding new boy, Jason J.D Dean who turns out to be a kill happy psychopath. From there on there are deaths, parties, funerals and a whole lot of destruction.

When the movie came out in 1989 it became an instant hit and then received a cultish following when it opened off-Broadway in 2014. The show's transition to the West End has been no different as teens and young adults flood to the theatre with scrunchies in hair and  pleated skirts on to see this wildly fun but disturbing musical brought to life.

The entire cast bring this show to life with vivacious passion and immense talent. Leading the gang, Carrie Hope Fletcher is a powerhouse as she battles between what's right and wrong and what she wants to do to boost her social standing/love life. Carrie steps  on stage to well deserved cheers and blows the roof of with her entire performance, especially her new song 'I Say No' which gives her a backbone and the rough 'Dead Girl Walking Reprise'. Veronica's moments of strength are certainly where Carrie shines but she is also humourous and likeable as she swoons over JD.

Under Andy Fickman's direction, Jamie Muscato plays the mysteriously murderous JD with an intensity that you can't help but be drawn to. Whilst it's not wise to partner up with a murderer, we all love a bad boy and the combination of JD's smooth talking and Jamie's perfectly rough voice make us feel for him a little bit, even though he becomes a monster before our eyes. Muscato's frenetic energy in 'Meant To Be Yours' is certainly a theatrical highlight of the year.

The three Heathers waltz around the stage as one but have quirky personality traits which are owned and embodied by each. As leader of the pack, Heather Chandler who "floats above it all", Jodie Steele is brilliant. Her permanent scowl, sharp movements, sublime vocals and stellar comedic timing make her perfect for the role. Sophie Isaacs brings an innocence to Heather McNamara which is interesting to play out. Whilst she is part of the mean girl group, it's clear from the outset that she is merely following the pack and wishes to break away. Isaacs' rendition of Lifeboat is a pin-drop silence moment which stands out in the show. As the final Heather, Duke, T'Shan Williams is feisty and aggressive, with her solo Never Shut Up Again earning her laughs and cheers from the audience. 

Stand outs of the cast also include Jenny O'Leary who gives a moving performance of Kindergarten Boyfriend, Rebecca Lock who brings the entire theatre to life with her fiery, belt-tastic Shine a Light and Christopher Chung and Dominic Andersen who are humour embodied as the jocks who combine to create Kram. Ensemble members Lauren Drew and Olivia Moore also catch the eye throughout.

Gary Lloyd's choreography is especially effective with the Heathers, namely during the iconic Candy Store which sees them sashaying round the stage but in true Heathers style, being in complete control the entire time and never stepping out of sync with one another.

Mention must go to Ben Cracknell's lighting, which like the music, intensifies every emotion on stage. Particularly effective are the varying tones of light between the characters. The Heathers are of course lit in their iconic colours (brought to life vibrantly through David Shields' costumes) but whats most striking are the moments when Veronica is lit in warm spotlights whilst JD is basked in stark, almost grey tones. This highlights the contrast between the true evil and the kind-of-forced-into-evil in a clever way.

Most of the subject matter of this show is uncomfortable but sadly ever present: bullying, suicide, murder, depression. Heathers does a good job of satirising the sensationalism of them and shines a light (pun intended) on the fact that unity and kindness are always the way forward.

Whilst this isn't a light hearted show in content, the songs are crazily catchy, the talent level is ridiculously high and it's just a really good night out. For Big Fun, get down to the Theatre Royal Haymarket!

Heathers runs at the Theatre Royal Haymarket until 24th November

photo credit: Pamela Raith
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Tuesday 19 June 2018

Legally Blonde (UK Tour), New Wimbledon Theatre | Review


Legally Blonde (UK Tour) 
New Wimbledon Theatre
Reviewed on Monday 18th June 2018 by Olivia Rose Dowden
★★★

Based on the 2001 teen movie, Legally Blonde tells the story of Elle Woods, who follows her high school sweetheart all the way to Harvard Law School, finding herself along the way. 

This UK touring production is led by the hugely energetic Lucie Jones as Elle Woods. Vocally, she was extremely secure and tackled Elle’s huge numbers with confidence and charisma. Her portrayal of the character was a lot more goofy than I’ve seen done before, which was refreshing and quirky. However, there were moments where Jones occasionally missed the mark with her comedic timing and some of the jokes were lost. There wasn’t as significant a transformation of character as I would have hoped; it was only really at the most serious point in the show during the song Legally Blonde,  in which Elle decides to give up on Harvard and return home, that Jones began to show another layer to Elle. Despite this, she remained charming throughout and truly won over the audience, gaining a standing ovation at the end of the performance. 

David Barrett was a very strong Emmett Forest, creating an endearing and likeable character. Unfortunately, as his key number Chip On My Shoulder was played so slowly by the band, the song struggled to build as much as it should. This is not something he should be personally scrutinised for, but it admittedly affected his performance. I felt the same was the case for Rita Simons’ number Ireland. Simons mastered the voice of the brassy Paulette but could have offered more in terms of character.  


Act One, in particular, was paced very slowly. The songs of Legally Blonde are admittedly very “wordy”, but the slow speed at which they were played meant there was a distinct lack of energy that only really emerged in the final number of Act One with So Much Better. Act Two was much more secure, with the comedic numbers Whipped Into Shape and There! Right There! being definite crowd-pleasers. The cast also coped extremely well with one of the dogs who was rather reluctant to stay in character, ad-libbing in order to keep the piece moving. 

The production is nearing the end of its tour and I hate to say it but unfortunately it shows. Some half-hearted American accents and very mechanical blocking meant the production just didn’t have that spark that makes this show so special. I also felt the addition of a Legally Blonde megamix after the bows undermined the genuine message the piece portrays at the end. 


Nevertheless, after watching a show with so much wit and charm, portrayed by committed and skilled performers, it’s difficult to leave without a slight smile on your face. I want to emphasise that the cast themselves were very strong, with impressive dance numbers and secure vocals. Those seeing the show for the first time will most likely have an enjoyable evening due to the warm-hearted nature of the piece. However, the many patchy moments made me feel as if the piece had lost some of its soul somewhere along the tour. 

Legally Blonde runs at the New Wimbledon Theatre until 23rd June 

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