Legally Blonde

Pink Power

Legally Blonde, the Musical

by Laurence O’Keefe and Nell Benjamin, book by Heather Hach, based on the novel by Amanda Brown

TOPS Theatre Company at the Hampton Hill Theatre, until 27^th April

Review by Polly Davies

I enjoyed the film of Legally Blonde.  It didn’t strike me as an obvious choice for a light-hearted funny musical, but I have been converted by the TOPS production of the Laurence O’Keefe and Neil Benjamin musical at Hampton Hill Theatre.  This convinced me that I was wrong.  A light, fluffy and funny musical wrapped around a life affirming message to be true to yourself.   It worked at all levels.  The band was good, the dancing was great, the funny bits were funny, and the message wasn’t lost.  It was a fun evening.  And the costume designer Lynn Hume really deserves a shoutout.  With so much story to cram into two acts the audience needs to know whom we are dealing with, and the costumes were just right.

Alex Alderson totally owned the role of Elle Woods, in her transition from dumb blonde to legal wizard, equally convincing as the dizzy rich-kid madly in love and as the unlikely outsider newbie at the prestigious Harvard Law School.  

The very pink Barbie-influenced staging was joyful, John Roberts’ simple set design reminding us throughout of the decadent Malibu lifestyle Elle was at familiar with.  No detail was missed as the scene changes raced through to tell the story.  Hair was being dressed at the back of the salon, mirrors and clothes-racks were wheeled on for the store, desks and benches for the court room. 

And with each, well nearly all, scene change another exuberant dance routine by the large ensemble who delivered all that was asked of them by director and choreographer Charlie Booker.  Special mention must go to the skipping routine that accompanied Whipped Into Shape: how did Kendall Knight as Brooke Wyndham, manage to sing so well after all that skipping?

The standard of performance was so high that it’s almost invidious to single out other individuals, but Guillaume Borkhataria’s Emmett was just the guy you would want your friend to fall for if she was obsessing over an unsuitable lover.  And the preppy Warner played by Griffin Huntingdon was believably unsuitable.  Jen Shaw-Powell was brilliant as Elle’s wise friend the gusty Paulette, doling out wisdom and showing an unexpected vulnerability.

Sofia Pricolo was convincing as the jealous Vivienne who finally found her female solidarity and Tyler Fagan and Rosie Knox stood out as Harvard students Aaron Schultz and Enid Hoopes.  A lovely cameo comedy performance by Daniel Evans as Paulette’s ex-partner. Luke Storey as Kyle B O’Boyle, the hunky delivery driver who steals Paulette’s heart with the help of a faux Riverdance routine was laugh-out-loud funny. 

But the glue that held this story together was the tour de force that was the Greek chorus of the Delta Nus appearing at all the critical moments to guide Elle back to positivity. Their costumes, song and dance routines, and their sheer exuberance set the pace for the show, as we were kept happy and entertained throughout.  Hats off ladies for reminding all of us of the positive power of women working together.  What a contrast to Ian Stark’s scary unethical law professor, showing all the arrogance and entitlement of a mid-century male!

And if all that wasn’t enough there are dogs.  Two cute and well- behaved dogs.

Polly Davies, April 2024

Photography courtesy of TOPS