Legally Blonde, The Musical

Legally Blonde, The Musical
Mirvish Productions
Music and lyrics by Laurence O’Keefe and Nell Benjamin
Book by Heather Hach
Directed and choreographed by Jerry Mitchell
Starring Becky Gulsvig, D.B.Bonds, Natalie Joy Johnson, Jeff McLean, Megan Lewis and Michael Rupert
At the Princess of Wales Theatre until Aug. 8
Rating: 3 ½ stars
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PAULA CITRON

“Legally Blonde” is a genuine surprise. It is a Broadway musical that is clever. The Laurence O’Keefe/Nell Benjamin lyrics are witty, while their tuneful music covers a whole range of styles. Heather Hach’s book is snappy. In other words, audience members don’t have to leave their brains at the door.

The show is based on the novel by Amanda Brown which inspired the 2001 megahit movie of the same name starring Reese Witherspoon (who was nominated for an Oscar). The plot is divinely absurd.

Sorority/Malibu girl Elle Woods (Becky Gulsvig) is a major in fashion merchandising who knows every Vogue magazine by heart. Elle’s favourite colour is garish pink.
When Elle’s boyfriend Warner (Jeff McLean) dumps her because he is about to go to Harvard Law School and needs a more “serious” girlfriend, Elle decides to go to that august institution as well, chihuahua Bruiser (Frankie) in tow, in order to win him back.

Elle’s friends at Harvard include hairdresser Paulette (Natalie Joy Johnson) and young lawyer Emmett (D.B. Bonds). The latter is an associate of the feared Professor Callahan (Michael Rupert). Elle’s rival is law student Vivienne (Megan Lewis), Warner’s new “serious” girlfriend. There is also the Greek chorus of Elle’s Southern California sorority sisters who are the voices in her head.

Everything about this musical works, first and foremost because the creators have firmly planted tongues in cheeks to revel in the satire. Elle turns the dumb blonde stereotype on its ear because she is smarter than anyone else, even though her thought processes are distilled through a fashion point of view.

Clearly director/choreographer Jerry Mitchell’s goal was to underline the fresh, breezy feel of the show without forgetting the serious matters that any good satire rests upon. ‘Legally Blonde” contains some important themes such as sexual harassment and the cynical workings of the justice system. The book does border on the politically incorrect, particularly on the subject of gays (or are they European?) but the sunny good nature of the show mitigates any offence.

Mitchell’s sexy dances pulsate with energy and youthful spirit. His presentation of Kyle, the hunky UPS man in his short shorts (Ven Daniel) will put a permanent smile on your face. David Rockwell’s set includes a picture frame of neon lights that surround minimal set pieces that roll easily on and off the stage. The four-sided frame itself lights up in suitable colours, particularly Elle’s beloved pink.

Gregg Barnes’ costumes are a wonderful potpourri of Nineties glitz and glamour for the Southern California girls, and subdued corporate/student casual for Harvard. Mention should also be made of David Brian Brown’s hair design. Each Californian looks really smart from head to toe, while the Harvard shlumps look shlumpy.

In recent years, touring shows have been Broadway quality, and this cast is terrific. The bubbly Gulsvig was Elle’s understudy on the Great White Way and was born to play this role. Her charm is infectious and she can belt out a tune. Most importantly, she never dumbs down Elle’s intelligence.

The laconic Bonds takes his cue from actor Luke Wilson who played Emmett in the movie. He is calm and unflappable, and lets loose his zinger one liners with a quiet, honeyed tone. Paulette is the resident dumb blonde in the show but Johnson makes her endearing.

The lyrics are so clever, I would have loved to hear ever word. Nonetheless, “Legally Blonde” is wonderful entertainment.

(“Legally Blonde” continues at the Princess of Wales Theatre until Aug. 8.)