Description:

'A wonderful new musical. Ridiculously enjoyable from start to finish. PERFECTION. OMIGOD! I'm like totally going again.' Paul Taylor. The Independent.

'A sassy story of self empowerment. Legally Blonde is a WINNER.' The Sun.

**** 'PERFECTION. Ridiculously enjoyable from start to finish.' The Independent

**** 'Musical Theatre at its best - great songs, witty lines. Smart, sassy, spectacular.' Daily Telegraph

Currently starring Carley Stenson, Lee Mead, Peter Davison, Natalie Casey and Siobhan Dillon.

Seats in row F and G in the Upper Circle are restricted view with a handrail in front.

For further information or to book tickets for Legally Blonde, please call Hit The Theatre on 0207 4929958.

Our Review:

Update July 2011:
Hit The Theatre went along to the Savoy again to see the new cast with Carley Stenson now having taken over the lead as Elle Woods, Lee Mead as Emmett Forrest and Natalie Casey as ditzy beautician Paulette Buonofonté. Lee Mead was unfortunately away however his understudy Robbie Towns was brilliant as the charming young attorney winning not only Elle’s heart but all females’ in the audience. Carley Stenson delivers a strong performance and seems to have made the transition from her role as Margot to Elle Woods with ease. She brings a greater sense of vulnerability to the role and more of the audience interaction last seen with Sheridan Smith. The greatest change is Natalie Casey’s portrayal of Paulette who has made the role her own and reels in laughter with every line. However her American accent is barely recognisable with her natural northern burr clearly audible and it often seems you are watching her in her long standing role of Donna from Two Pints rather than Ms Buonofonté. Although recognised for her talent in comedy, it was Casey’s powerful voice that stood out as she fiercely attacks the solos with added riffs and higher notes, giving the role its best vocal yet. We couldn’t tear our eyes away from Ellie Kirk who is adorable and a joy to watch, perfectly cast as Carley Stenson’s replacement in the role of Margot and completely commanded the stage with her hilarious facial expressions and mannerisms.

The new cast will have no problem in maintaining the show’s high standard and popularity as the Olivier award winning ‘Best Musical’ that it is. Legally Blonde is as fun, fluffy and frivolous as ever – a guaranteed night of superb entertainment no matter who you are.

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Sheridan Smith, Olivier award winner for her role of Elle Woods in the original London cast of Legally Blonde, often described the musical as ‘pink, camp, fluffy and two hours of fun’. Jerry Mitchell’s production, based on the 2001 film starring Reese Witherspoon following a ditzy blonde sorority girl’s journey to Harvard Law School in an attempt to win back her love, is just this.

The show opens in a big ensemble number entitled ‘Omigod you guys!’ which immediately launches you into the Chihuahua loving, pink spirit of the musical. With many of the original cast who led Legally Blonde to such critical acclaim having now left the production, I was interested to see how its new members would fair.

Susan McFadden had the difficult role of filling Sheridan Smith’s shoes. She has made the role her own and does not replicate Smith’s tongue in cheek interpretation but interestingly adopts a more serious approach to the role, (well as serious as one can be). However, the brilliant wit of the script still has the laughs rolling in. Hollyoaks’ Carley Stenson lights up the stage as Margot, one third of Elle Wood’s hilarious L.A. posse. Siobhan Dillon highlights her incredible vocal ability in the finale, hitting notes which, for most would resemble a screeching cat, with complete finesse, as the nasty-turned-nice Vivienne. Original cast member Alex Gaumond’s portrayal of Emmett captures not only Elle’s heart but every female’s in the audience with his awkward vibe - utterly charming. After Gina Beck’s recent article in The Stage defending understudies, credit must be given to Sorelle Marsh who was on for Denise Van Outen and executed a performance full of confidence and flair playing the role of Paulette; the Celtic enthusiast beautician. Truth be told, the cast were flawless and when the company comes together in the bigger numbers, all you want is to be on stage joining in the fun they are so evidently having.

The show is not all a happy clappy embracing of jazz hands, but delivers poignant moments such as McFadden’s moving performance of the musical’s title song. However, the sombre mood does not last for long and another vibrant ensemble number is soon underway celebrating ‘Miss Woods, Elle’ being ‘back in the game’, embracing the positive ‘girl power’ vibe of the production which gears up to the finale and inevitable happy ending.

With the uplifting score by Laurence O’Keefe and Nell Benjamin, fast-paced choreography from Jerry Mitchell, a side-splitting script, dogs, cheerleading and UPS men with ‘a package’, the flamboyant musical was somewhat surprisingly enjoyed by everyone; even to the businessman sat behind me...not to mention the woman in a pink tracksuit complete with blonde wig and feather boa, followed by her contemporaries with matching sparkling tops, on what could have only been a hen night. The show is jam-packed with outrageous fun, laughter and pure absurdities leaving you singing along to ‘Omigod, Omigod you guys!’ with the hens as you leave the theatre.

What The Papers Say:

“OMIGOD! I tried, I really tried to hate this show, but resistance is futile. It’s going to be a huge hit and if you’re a chap, your wife or girlfriend is almost certain to drag you along. You might as well give in gracefully now.
The stage show has its tongue in its cheek throughout, it knows it is ridiculous and infantile, and celebrates the fact with knowing wit.
Director and choreographer Jerry Mitchell keeps it all light, fast, fun and frothy, and there are some terrific dance routines, not least when Elle presents herself to the Harvard professors with a full supporting company of cheer-leaders.
Laurence O’Keefe and Nell Benjamin’s score is efficient rather than inspired, with no one number that brings the house down and lingers in the memory, though there are some enjoyable shafts of wit in the lyrics.
Among feelgood musicals, Legally Blonde is right up there with Mamma Mia! and Hairspray” THE TELEGRAPH (2010)

“Frothy and intoxicating, Legally Blonde has burst into the West End like a fizzing bottle of pink champagne. This musical will not disappoint fans of the movie - it’s a faithful, funny and feel-good adaptation
The catchy songs and slick choreography dominate the production, which has comparatively little dialogue. The most tongue-in-cheek numbers work best - particular stand-outs are Omigod You Guys and There! Right There!, which features a courtroom chorus of “Gay or European?”.
The packed house whooped and hollered delightedly throughout the show. With a talented cast, tight direction and dance routines from Jerry Mitchell, and scene-stealing turns from the pet pooches Bruiser and Rufus, Legally Blonde boasts an exuberant comic spirit that few will be able to resist.” THE STAGE (2010)

“Jerry Mitchell's pepped-up, Olivier-winning hymn to sisterhood - in which Malibu Barbie Elle Woods takes on the overprivileged preppies at Harvard and wins - is, like, the best legal high in town.
Despite the leads' excellence, this is an ensemble triumph. Even the love story is just a conventional showcase for 'Legally Blonde's true ideals: friendship, hard work and honesty. Elle's gloriously trashy shades of cerise are the banner of a kindly, ultra-camp world. Here in pinktopia even Elle's Delta Nu sorority of Californian cheerleaders are a ditzy chorus of supportive sisters, never the hard-candy superbitches of campus cliché.
Jerry Mitchell's aerobic, non-stop choreography brings all the show's tribes together. Every scene pops with energy. And when Elle, her ex, her dastardly Prof and her fellow legals have to defend exercise-queen Brooke Wyndham on a murder charge, triumphant numbers ensue.
Prettier and wittier than 'Hairspray'; younger and hotter than 'Jersey Boys' and glamper than 'Priscilla': this is the West End's attorney-in-chief and she's tressed to impress.” TIME OUT (2010)

“It's not often that a West End musical references Simon Cowell, case law and the science of getting a perm.
But this is Legally Blonde, in which gags about spring break rub up against throw-aways about Gloria Steinem and Thomas Hobbes, and with its mix of daftness and knowingness this sugary yet far from stupid romp will surely be a palpable hit.
Even more than the film, this stage version is cartoonish and unremittingly silly. Director Jerry Mitchell has imbued it with an exultant liveliness; his choreography is so camp it could be Eurovision
Nevertheless, Legally Blonde is a winner. It's energetic and amusing, with a sprightly sense of pace, and all but the most flinty-hearted theatregoers will leave it flushed with delight.” EVENING STANDARD (2010)

“Omygod, as a jazzily dressed set of sorority sisters keep squealing at the start of the delightful, annoying, supremely wishful musical that’s just come frolicking into Blighty from Broadway
Let’s overlook some forgettable tunes and welcome dance that embraces everything from skipping with ropes to spoof Riverdance. Let’s relish the support both of a fake-Greek chorus dressed as cheerleaders and of two cute, unnaturally obedient dogs. Let’s agree that Legally Blonde is, well, fun.” THE TIMES (2010)

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