Olivia Hedden in Legally Blonde: The Musical (photo by Nat 20 Photography)
Riding in on the pink wave started by last summer's Barbie energy, the SoCal/Harvardian fantasy that is Legally Blonde: The Musical is making a splash at the Spotlight Theatre. Its music and often-amusing lyrics are by Laurence O'Keefe and Neil Benjamin, with the book by Heather Hach. Director Rebecca Casad and musical director Christine Rogers have wrangled a large, impressive cast, crew, and staff into an energetic singing, dancing, overall good time.
I was intrigued to learn that this is not simply a Reese Witherspoon movie-turned-musical, as Amanda Brown, in 2001, published a novel rooted in humorous stories of her law-school experiences. (The movie was released within weeks of the novel; either Brown sold the rights beforehand, or time travel is real.) These two works begat a big-screen sequel, a TV movie, a tween/teen book series by a different author, this 2007 stage musical that earned seven Tony nominations, and a reality-TV competition to win the lead role in said musical. Then, another TV movie, with a third film and small-screen series in development. All this from a self-published novel!
In Casad's production, multi-talented Olivia Hedden plays Elle, the erstwhile fashion-obsessed sorority partier turned sort-of-serious law student. Hedden has enviable theatrical skills, including solid comedic timing. Her Elle is alternately perky and discouraged (though never spineless), which is what I expect from a young fish-out-of-water heroine. Luckily for Elle, she has her own literal cheering squad throughout -- her chipper Delta Nu sisters, who at times become an imagined Greek chorus of positivity. This lovable bunch was part of the integral 19-member ensemble, many of them playing small roles as well as joining in for whole-stage extravaganzas.
As for the single-role performers, I'm not used to seeing the wonderful Jacob Johnson so sedate, refined, and slightly dull, but he is such, and appropriately so, as Elle's ex-boyfriend Warner. Elle follows Warner to Harvard Law School in an attempt to win him back, and after she gets there, Joel Vanderbush impressed me with his intimidating gravitas as law professor Callahan, expressing predatory aspects chillingly in "Blood in the Water." Noah Hill uses his fine singing voice to great effect to help his low-key teacher's assistant Elliot make a big impression. It's tricky to stand out while playing a self-effacing character, but thank goodness – and the show's lyricists – for inner monologues delivered in song!
Sara Wegener, as Elle's new friend Paulette, stole some of this Legally Blonde for me with her delightful, working-class East Coast attitude and voice, as well as the performer's customary ability to elicit both smiles and a tear. Becca Johnson dominates in her entrance as fitness trainer Brooke, with she and her students each brandishing very lethal-looking jump ropes in "Whipped Into Shape." Just watching them perform this energetic, aggressive number during Thursday's preview left me gasping in awe – and, sympathetically, for air. (As always, the show's choreographer Lily Blouin brings the body-moving magic throughout.)
A few of my favorite smaller character roles include snarky, stereotypically feminist law student Enid, enacted by Maesi Geigle, and blue-collar suave charmer Kyle, played by Erik Finch, who also plays crass redneck Dewey and upper-crust Harvard admissions bigwig Lowell. (Dude's got range.) “Bend and Snap,” about a never-miss milkshake-to-bring-boys-to-the-yard move, was a cringey number for me, although it had a satisfyingly comedic ending. Similarly, though I loved Joseph Nguyen's bold, runway-worthy performance as prosecution witness Niko, some of the lyrics of the attending musical number speculating on the character's sexual preference – "Gay or European?"– made me twitch a little. Though I realize the reason for it was as part of the defense's strategy for exonerating their client, I had to remind myself that this number was written more than 17 years ago.
The exceptionally fine costumes by Lisa Ferguson include Elle's gorgeous sequined eyeful near the top of the show; the khaki and brown Harvardites' wear (plus black, white, and blue when they wanted to really tear up the joint); the gold-and-white "Greek chorus" outfits for the Delta Nus; Elliot's before-and-after makeover ensembles (with a quick change aided by onstage dressers); and the most infamous pink bunny outfit since Ralphie Parker's in A Christmas Story.
On Thursday, the pace, scene changes, cues – almost everything – flowed smoothly here. There were a few performance hesitations, but this was still a rehearsal, after all. What genuinely marred this mostly professional experience were the regrettable, omnipresent sound problems at this venue. Static and mics dropping out plagued the performers, and too often, the singing and dialogue couldn't be heard over the music.
But I do want to commend first-time stage performers Spud DoodleDo and Branch Manager Tugboat “Tug” Meatloaf, who were completely convincing as canines Rufus and Bruiser. Each was clearly a bit nervous and pulled focus at times, but that can't be helped – they're adorable doggos!
My verdict is: Attending the Spotlight's Legally Blonde: The Musical is time well spent. Along with the fun and entertainment, we can all use a reminder that not all blondes wearing pink are shallow and silly. I quote from the teachings of Barbie: You can be anything.
Legally Blonde: The Musical runs at the Spotlight Theatre (1800 Seventh Avenue Moline IL) through February 25, and more information and tickets are available by calling (309)912-7647 and visiting TheSpotlightTheatreQC.com.
