In 2001, Reese Witherspoon created an iconic character in the feel-good movie Legally Blonde. She was feisty, funny, and inspirational to many tweens and teens, and she didn’t disappoint adults either. When dumped by her Harvard-bound, upwardly mobile boyfriend, she masters the LSATS and joins him for law school. Overcoming obstacles of misperceptions about her intellect and seriousness, she nonetheless triumphs.
As many popular movies have transformed into musicals, it seems like a slam dunk riding the coattails of its popularity. Broadway loves production numbers, and this one is loaded with them After we learn that Elle Woods (Kathryn Brunner) has gotten the bad news from her boyfriend, Warner (Nicholas James McDonough, the show launches into arguably the most fun number of the show, “Omigod You Guys.” It has a bevy of her UCLA attractive Delta Nu sorority sisters and other classmates dazzling with acrobatics and colorful precision. On her arrival at Harvard, she arrives in a pink cloud of luggage, dog ( the adorable and well trained Little Ricky), and haute couture. Of course, she wins over the admissions board in another humorous and high-stepping number, “The Harvard Variations.”
Rejected by Warner and his elegant new girlfriend, Vivienne Kensington (Anna Mintzer), Elle seeks solace at the local beauty shop run by Pauline (Anthea Neri Best). She sets Elle on the right track with the inexplicable ode “Ireland.” It may be an opportunity for an Riverdance-like number later in the show, but Best belts it out powerfully and plaintively.
Elle is mentored along the way by an appealing Emmett (Michael Thomas Grant) as she enters the cutthroat world of law. The students’ nemesis, Professor Callahan (Ed Staudenmayer), is well cast and suitably menacing.
Throughout the show there are some amusing production number: a Greek chorus of sorority sisters, a clever jail scene where Elle starts her defense of a fellow sorority sister (Jane Papageorge) accused of murder; and “Bend and Snap” by Paulette and Elle, including a hunky Fed Ex guy who steals the scene. For sheer precision, Papageorge and chorus perform calisthenics with jump ropes that brings forth cheers from the audience.
It would be a disservice to the show to fail to mention the terrific ensemble featuring : Dahlya Glick, Grace Simmons, Bella Hicks, and Aurelia Michael in pivotal roles; and Cristyn Dang, Grant Hodges, Nathan Madden, Donovan Mendelovitz, Bailey Renee Miller, Taylor Metro, Davon Rashawn, Anthony Sanchez, Callula Sawyer, Rochelle Scudder (“Bruiser” Handler), Jabari, Krystle Rose Simmons, Rodrigo Varandas, and Rianny Vasquez. Swings are Emmy J. Lane and Ben Raanan.
There are points in the show where the pinkness and perkiness overwhelm the heart of the story necessary to root for Elle. She goes through the requisite motions, but is only given a few chances to escape her ditsy blonde caricature. The budding romance between Elle and Emmett allows for moments of reflection among the hustle of the show. One might quarrel with some questionable stereotypes throughout the production, but this is not a political show and you can take them or leave them as you will.
Directed by Cynthia Ferrer, the show is a marvel in swift scene changes and precision. She manages her large cast exceptionally efficiently. Dana Solimando, well awarded for her choreography, doesn’t disappoint as the large production numbers go a long way toward creating an audience friendly experience. Music and lyrics by Laurence O’Keefe and Nell Benjamin are smart, often humorous, and drive the show forward with energy. While Ryan O’Connell’s musical direction is Broadway-worthy and expert, the volume of the orchestrations sometimes overwhelms the dialogue.
The original book by Amanda Brown is based on true events in her life, and it translates into an appealing tale that emphasizes how women often have to prove themselves. The story certainly has been given a life far beyond the book. The book for the production by Heather Hach capitalizes on the feel good elements and engenders some very funny lines.
If you are looking for diversion, this show delivers. It is a bright, cheerful display of talent that is impressive. If you are overwhelmed by the saccharine nature of the story, and that can be a problem, you can sit back and watch some really talented folks strut their stuff as part of La Mirada’s appealing season of shows.
Legally Blonde runs from April 26-May 18. Performances are Thurs. 7:30; Fri at 8. Sat at 2 pm and 8 pm. Sun at 1:30 and 6:30. There will be an open captioned performance on Saturday, May 10 at 2 pal. Talkbacks with the cast and creative team will be on Thursday, May 1 at 7:30 and Thursday, May 15 at 7:30 pm. La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd, La Mirada. 90638 Free parking. Tickets from $25 to $95. Children under 3 will not be admitted to the theatre. Group, student, military discounts are available. Call (562) 944-9801 or (714) 994-6310.
I
