Review: Legally Blonde

(photo credit: Seanna Kennedy Photgraphy)

Legally Bland
The tickets aren't cheap...the show is
By Stuart Munro

Some people may be surprised to hear this, but Legally Blonde: The Musical is actually a good show. It retains all the characters, wit, and self-esteem boosting qualities of the MGM film on which it is partly based; and musical theatre fans will find more fully developed characters, some fantastic songs (by songwriting team Laurence O'Keefe and Nell Benjamin), and enough bend and snap to keep you highly entertained.

Unfortunately, almost nothing about the Lower Ossington Theatre’s production of Legally Blonde: The Musical calls attention to these highlights.

I’m convinced they were pre-recorded, leading to many missed cues, actors singing over one another, and even cut dialogue because somebody pushed ‘play’ too soon.


The very first problem is Michael Galloro’s set, which is visible the moment you enter the theatre. As the only set throughout the production, it lacks the versatility to adequately transport us to the various locations of the show, whether it’s the Delta Nu sorority house, or a classroom at Harvard Law School. Its salmon colour serves only to clash with everything and everyone, and it looks as though it was constructed over a beer filled weekend that resulted in unevenly hung doors and haphazard duct tape finishes.

The design problems don’t stop there. For their costume design, it seems as though Kathryn Ballantine and Jordy Rolfe asked the cast to bring in various selections for their own wardrobes from which a loose consensus of jeans, tank tops, and character shoes was eventually reached. There was no cohesiveness, no clear vision of how the characters should look. (The only real exception was for the show’s leading lady who almost always looked stunning.) This lack of vision also plagued Travis Lahay’s lighting that was, at times, so badly focused that actors were completely obscured by shadow no matter where they stood.

Will Hofstetter’s sound design aided in obscuring the actors. Many mics were troubled with static, and the balance with the band at times made it almost impossible to hear any lyrics. Speaking of the band, there is one credited in the program. However, I’m convinced they were pre-recorded, leading to many missed cues, actors singing over one another, and even cut dialogue because somebody pushed ‘play’ too soon.
The ensemble, thankfully, make do with the weak direction given to them, and they perform with energy and commitment.


Legally Blonde is, in essence, the story of a girl who goes to law school for all the wrong reasons, only to discover her true potential and eventually dominate in a patriarchal world. Thankfully, here, this production succeeds. Anna Hurshman’s Elle Woods contains the perfect balance of naïveté, drive, and eventual confidence to pull off the role. Her clear and lovely voice is sadly drowned out a few too many times by the sound mix. Heidi Michelle Thomas’s Paulette (Elle’s hairdresser and confidant) is brassy and over the top, but always remains honest; and Marissa Dingle’s Vivien (Elle’s competition for the man of her dreams) contains just enough sass and snark to make her loathable and loveable. Her vocal fireworks at the end of the “Legally Blonde Remix” had me cheering her on.

Unfortunately the same cannot be said for any of Legally Blonde’s three leading men. Jeff Hookings as Warner Huntington III, Sean Cage (the show’s associate director) as Emmett Forest, and David Hohl as Professor Callahan all possess lackluster (and at times completely off-pitch) voices. Their performances were wooden and stale, and not one was able to make me believe they actually had any romantic or sexual interest in Elle, despite this being a key plot point for all three.

Director Tricia Lackey seems unsure what to do with her large ensemble cast; there’s a lot of standing around and knowing looks to other cast members, but no real clear sense that anyone is comfortable in the space. The ensemble, thankfully, make do with the weak direction given to them, and they perform with energy and commitment. Their vocals especially stand out and give the show the punch it so badly needs.

Sarah Slywchuk’s mostly uninspired choreography takes many cues from the original Broadway production (which was broadcast on MTV and is readily available). This is understandable in numbers like “Bend and Snap” where the primary move is borrowed from a hilarious scene in the film, but problematic in the Act II opener, “Whipped Into Shape,” where Ms. Slywchuk has directly copied the original choreography. Not only is this dishonest, but this kind of artistic theft can land you in trouble without the proper permission, and I see no credit given to original director/choreographer Jerry Mitchell.

The Lower Ossington Theatre appears to cast many recent graduates from some of the country’s top training programs. These kinds of opportunities are important so that young artists can cut their teeth on new roles, but The Lower Ossington Theatre looks more like high school than post-graduate. For $45-$75 a ticket, I expect a lot more bang for my buck.

Ticket information to March 31