Adorable. That’s really all you can possibly say about “Legally Blonde: The Musical.”
Walking into the packed theater surrounded by pre-teens dressed better than I was and middle-aged women decked in hot pink, I did not expect to be blown away by the production. I was doubtful, even after an interview with lead Becky Gulsvig, who said that many people felt the same way walking in, but walked out falling in love all over again with Elle Woods.
Granted, the story of Elle Woods appeals to everyone in film form. But the initial question was whether adding over-the-top dance numbers, a stage and Becky Gulsvig as Elle Woods would be successful.
First of all, the music and dance numbers were catchy and modern, with elements of hip-hop and pop, as opposed to more traditional Broadway tropes. But two rather disconcerting numbers slightly overweighed the others. The first was the opening number of “Ohmigod,” the song that has been touted as summing up the production. It was a turn-off. The lyrics, “Ohmigod, ohmigod, you guys,” were annoyingly repetitive, in a tear out my eardrums kind of way.
Becky Gulsvig definitely held her own with her extraordinary vocals and chipper attitude. The character she played was not much different from the original Elle Woods, played by the worshipped Reese Witherspoon, but that in itself was a good thing. She had the spirit and the comedic timing that so defines the character, and by the end of the musical, I felt like I was seeing Witherspoon on stage.
Paulette (Natalie Joy Johnson), Elle’s hairdresser, had a refreshingly more active role in this production. The emotional support she offers Elle is only more obvious, as is her own back story. Her desire to meet an Irish lad was random, though, especially when it climatically manifested itself in Riverdance-like extravaganza in the middle of the show, which added nothing to the plot or character. It was just too over-the-top for an over-the- top kind of show.
My favorite voice in the production was that of Elle’s unrequited love, Warner (Jeff McLean). Velvety smooth, I think I would have swooned if his character were a little more likeable.
There were some interesting additions, including Elle’s sorority sisters turning into a literal Greek chorus that narrated the story, as was the emphasis on UCLA. The superficiality and alcoholic nature of how Bruins were portrayed was slightly disappointing, but did not detract too much from the overall production.
The accused murderess, Brooke Wyndham (Coleen Sexton), has a cuteness and an energy so appropriate for the role. Her endearing fitness routine, as well as the sisterly exchanges with Elle, created a deeper character than in the movie.
Although the music and dance were not remarkably unique, the endearing qualities of the character as well as the inspiring plot will ensure the popularity of this production in Los Angeles.
““ Amber Bissell
E-mail Bissell at abissell@media.ucla.edu.