Legally Blonde - Review

Kilworth House Theatre, Leicestershire


****


Music and Lyrics: Laurence O’Keefe and Nell Benjamin
Book: Heather Hach
Director and Choreographer: Mitch Sebastian

Jennifer Harding

Omigod - as autumn approaches and the nights are drawing in, Legally Blonde is creating a fabulously pink infusion of summer fun in the gorgeous grounds of Kilworth House Hotel’s theatre. 

From a distance the show’s story couldn’t be cheesier. Elle expects boyfriend Warner to propose to her but instead the cad dumps her, prior to his leaving town to study law at Harvard – and find a fiancée of greater intellect and social standing. Not to be put down, Elle pursues her man, studying hard and also joining Harvard Law School. What follows is a story as delicious as it is improbable, as through a combination of hard work and sassy female intuition Elle heroically wins the day.

To say any more would spoil – for actually Legally Blonde is all about brilliantly executed song and dance, the breaking and mending of hearts and the lampooning of men whose attitudes to female equality belong in the Stone Age.

Fresh up from being nominated in London’s Off West Awards for Best Female Performer of the Year, Jennifer Harding is Elle. Barely off stage throughout, the strikingly blonde Canadian drives the show with stunning vocals and breathtaking presence. We sense her indignation, resilience, passion and yes at times, a deliciously ditzy blondeness that fuels the narrative. All of Harding’s singing is a treat, with her take on the title song and its Remix, proving spectacular. 

Supporting Elle are a raft of featured characters. Greg Miller Burns is good-guy Emmet, who convinces in his transformation from geek to chic. The accomplished Jodie Jacobs is a delight as Paulette – scene stealing deservedly in her big number Ireland and bringing the house down during the Find My Way/Finale number.

Jenny Gayner puts in an eye-wateringly energetic turn as fitness guru Brooke Wyndham, a woman whose circumstances provide the opportunity for Elle to triumph. Gayner’s Delta Nu Nu Nu duet with Harding proves to be another of the show’s ridiculously memorable moments.

Mitch Sebastian directs and choreographs imaginatively – and for such a charmingly quirky venue, Philip Whitcomb’s set along with Chris Whybrow’s well-crafted sound design ensure all the action is both seen and heard as the sun sets behind the trees, with John Morton’s 11 piece band making fine work of the sugary score.

Fun musicals don’t get better than this!

Runs until 20th September

Kiss Of The Spider Woman

Arts Educational School, London

*****

Book by Terrence McNally, based on the novel of the same name by Manuel Puig

Music by John Kander

Lyrics by Fred Ebb

Genesis Lynae and company members

Kander and Ebb’s Kiss Of The Spider Woman is a show rarely seen in London. A troubling piece, exploring life within a repressive prison environment of a nondescript South American country and focussing upon the two inmates of one cell. Molina, a homosexual, is imprisoned on a trumped up charge of a sexual offence, whilst Valentin, a committed Marxist, is incarcerated and tortured for his beliefs. The show’s action is set almost entirely in the confines of the prison and in the vividly imagined fantasies of movie-obsessed Molina’s mind and from there stems the power of Puig’s novel, cleverly captured in Terrence McNally’s book.

The  Arts Educational School BA Musical Theatre 3rd Year students are a talented troupe and one could have been forgiven for mistaking this company for professionally experienced alumni rather than undergraduates, such was the talent on display. This review, perhaps invidiously, will comment on but a handful of characters. However, whilst these players may have had key roles, the overall performance of the entire company was astounding. There was not a weak link amongst them and all the actors must shoulder equally the praise that this production has garnered.

The intriguingly named Genesis Lynea headed the cast,  both as Aurora, a film starlet type character of Molina’s fantasies and also as the Spider Woman. Veiled and impeccably made up with jet black lipstick and implausibly long eyelashes Lynea bore a stage presence rarely if at all seen in one so early on in their career. The actress’ poise, presence, movement and above all, her voice was astounding. Shaven headed, costumed throughout in splendid gowns that at times could plunge to display her provocative decolletage, a suggestion of the siren-like fatality of her kiss, Lynea is without question an actress to look out for.

Greg Miller Burns as Molina displayed a combination of strength and fragility. Two of his solo numbers in particular She’s A Woman and Mama, It’s Me showed vocal precision that matched his movement whilst his acting skill gave a credible portrayal of his growing love for his cellmate. Valentin realised by Danny-Boy Hatchard was another display of gritty acting, convincingly evoking a  man at times starved, at times beaten and ultimately in love. Vocally, Hatchard has perhaps a little more to offer than was heard in this show, however his leading of the ensemble in The Day After That was a powerful and moving anthem. Olive Robinson and Shane McDaid were effective supporting players, as Molina’s Mother and Prison Warder respectively, providing sufficient depth in each of their portrayals to add colour to a very starkly portrayed world.

Nikolai Foster’s direction and interpretation of the show has been a blessing to these fortunate students. With minimal props and no scenery save for minimal use of projection and a combination of smoke and well plotted lighting, the power of this production came solely from human endeavour and excellence. The fantasy scenes, in which a dozen actors could, from nowhere, gallop through the shared cell were inspired creations whilst the oft repeated refrain of the prisoners, Over The Wall, was in each of its four reprises, menacingly played out.

Kander’s music is of course denuded without choreography and Drew McOnie’s vision that drew upon the tango amongst other Latin styles, together with some nods in the direction of Bob Fosse, was nothing if not provocative. The big numbers of the Morphine Tango, Let’s Make Love and Only In The Movies, exploited both the talent and the size of the cast and were as drilled and rehearsed as they were imaginative whilst Tom Deering’s musical direction produced a large and compelling South American sound from a band of barely three. The creative trinity of Foster, McOnie and Deering is a symbiotic powerhouse that clearly generates outstanding musical theatre.

This production deserves more than its brief academic-length run of ten days. If the gods of theatre can bestow this show for a month or so, at somewhere like the Riverside perhaps, London will be the richer for it.