‘LEGALLY BLONDE: The Musical’ at LPAC is a Pink Rush of Girl Power, Talent, and Joy

Musicals-made-from-movies-made-from-books is a popular, winning formula drawing audiences from print, from film, from lovers of musicals – as well as “none of the above.” By the time a book- and/or movie-based musical hits Broadway, it tends to have a well-established fan base, eager for more. There will always be purists who claim one must read the book first or are emotionally tied to the movie. Coming from someone who’s experienced all three – in no particular order – I say there’s no one right or wrong way to enjoy a great musical. Nothing compares to the buzz and anticipation felt by a live audience when the curtain rises. Where personal issues are put aside and we can all sit entranced, together, for a few magical hours of drama, comedy and, especially, wondrous music and songs!

There’s an excellent, somewhat new and growing musical theater company in town that embraces this uniquely American genre with great style, talent and, for now, more affordability than most. Broadway at LPAC (Lauderhill Performing Arts Center) – which boasts a beautiful, large theatre with great sight lines, free parking, and an easily accessed central Broward location – is celebrating its third season of popular Broadway shows. Yet they remain off the radar of much of the theater-going community – though I’m sure not for long.

Especially as their current season could be called “the year of the woman.” Based on how our world is turning against women’s rights – even to decisions pertaining to our own bodies – we are certainly ripe for some musical uplift, and can use all the encouragement we can get. LPAC’s Broadway Series opener of Dolly Parton’s iconic 9 to 5: The Musical – which glorifies the female brains behind a “pervy” male boss and features a revenge office takeover – was a unanimous audience favorite. 

This blockbuster is now followed by an altogether delightful and exuberant production of LEGALLY BLONDE: The Musical (music and lyrics by Laurence O’Keefe & Nell Benjamin, book by Heather Hach), playing through March 16. The musical is based on the popular 2001 movie starring a young Reese Witherspoon, and Amanda Brown’s novel (which, by the way, was based on the author’s own contentious experience as a “fashionista” student at Stanford Law School). Sadly, even if some of Legally Blonde’s particulars are fictionalized and take place in the early 2000s – decades after 9 to 5 (set in the late 1970s) – every woman can still relate to the systemic sexism, no matter their age or employment history. 

At least some men are finally getting it. Like Broadway at LPAC’s phenomenal artistic director, Michael Ursua, who also serves as director/musical director for all their shows. Ursua states: “The powerful messages of Legally Blonde resonate today more than ever. The story follows Elle’s transformation as she tackles sexism, snobbery, and scandal in pursuit of her dreams. Among lessons she learns along the way: Believe in yourself and don’t compromise; the things we get judged for as not serious are actually our greatest superpowers; although being independent can be scary, it can get you very far; and of course, never judge a book by its cover!”

Act One immediately immerses us in star Elle Woods’ (Ariela Pizza) idyllic UCLA sorority world where she’s president and is joined by her enthusiastic sisters in celebrating her imminent engagement to Warner Huntington III (Collin Salvatore). The Delta Nu sorority house, complete with staircase, is the first of many storybook-perfect, roll-on stage sets (thanks to Gateway Playhouse scenery), all enhanced by Clifford Spulock lighting design and sound design by Christopher Wynter. We feel like we’re part of their candlelit ceremony when singing sorority sisters walk down the aisles and are spotlighted in the theatre’s two side balconies. Costume designer Penelope Williams (with original costume design by Gregg Barnes) and wigs by Justin Lore’s Tease & Floof Theatrical Wig Design perfectly reflect turn of the century styles.  

The musical’s opening number, “Omigod You Guys,” conveys unanimous glee at Elle’s upcoming special night and the love and support these young women share (a trait that will serve Elle well later on). We meet her three sorority besties – featured singers/dancers (and subsequent short-white-tennis-skirted leads of the Greek Chorus). They are Margot (dance captain Lauren Wickerson), Serena (Cassidy Joseph), and Pilar (Jessie Dez). Like Ariela Pizza’s Elle, all three are extremely talented and engaging performers who shine as a trio or when joined by the Company in finely choreographed scenes by Alex Jorth.

As for Elle’s special night? Let’s just say life, but guys in particular, don’t always live up to a gal’s expectations. (I can’t believe I just had this conversation with my “disappointed in her boyfriend” daughter.) In Scene 2, featuring the number “Serious,” Elle’s shocked to discover that rather than propose, Warner is breaking up with her because he doesn’t consider her serious wife material for his goal of joining the Senate. Elle’s response: “I’m from Malibu, that’s not trailer trash. Richard Simmons is my neighbor.” 

After 12 days spent wallowing in misery, Elle decides to prove her worth to the love of her life by joining him at Harvard Law School. After all, she has a 4.0 average and a fashion merchandising degree (though Warner also considers that not serious). As does Elle’s dad (Larry Toyter) who can’t understand why his beautiful daughter would want to be a lawyer because “Law is for serious, ugly people.”

Nonetheless, Elle goes on to prove a woman can be pretty, fashionable, AND smart. And ultimately succeed in fulfilling all her dreams – personal and professional. But that may take some time and, as in Elle’s case, a little help from one’s friends. Being a good, honest friend reaps huge dividends in mutual support. Bookish sorority sister Kate (Genevieve Hall) helps Elle prepare for the LSAT, and new friend, Hair Affair beauty salon owner Paulette (Samara Shavrick), prevents her from recklessly turning brunette, helps her study, and ultimately provides the hair perm expertise that wins Elle her first legal case.  

But before all that, we get to enjoy striking vocals and outrageously creative dance sequences (this is a musical comedy drama after all). And to the critics who called Legally Blonde “a sugar rush” or “pink fluff,” I say: Sure it’s fun, and there’s lots of pink and crazy numbers. But the message in all the flashy madness couldn’t be more timely and, yes, serious. About how women must strive so much harder to be taken seriously, and how important it is that they stand together to defend the right to choose their place in the world. It’s about being respected for their talents, not overlooked and disparaged for their looks. And, definitely, not ever being subjected to male harassment, threats, and retribution. The #MeToo movement does, unfortunately, continue to grow.  

Now to the critic’s privilege of picking favorite numbers to highlight. Attend the show, and see if you agree. Elle does Elle by presenting the admissions office with a live showcase “personal essay” performed by cheerleaders and frat boys. Ironically, she’s only accepted once she reveals she’s motivated by love (“What You Want,” featuring Elle, Delta Nu’s and Company). 

At Harvard, Elle’s befriended by kind, poor, teaching assistant, Emmett Forrest (Michael Stafford) who later glorifies the “Chip on My Shoulder” that has him working twice as hard, a strategy adopted by Elle when she needs it most. She’s also, at least at first, despised by her ex’s new girlfriend, wealthy and connected Vivienne Kensington (Katie Davis) who gets her kicked out of her first class for not reading the assignment. But here’s also an opportunity for Professor Callahan (popular Equity actor Wayne LeGette) to show off his vocal prowess in “Blood in the Water,” challenging his students with “Only some of you are sharks, the rest are chum.” He adds he’ll be choosing the four best students for an internship that will guarantee their future careers. 

Perhaps now’s the time to restate that the leads, and the entire ensemble, all sing and dance beautifully – alone and together. But I must spotlight one more knockout solo, “Ireland,” a glorious tribute to Irish and Celtic pride and yearning by fabulous singer/comedienne Samara Shavrick as Paulette. Hers was a long, sad love affair with a selfish, unfaithful Irishman who not only didn’t marry her, but took off with her much-loved pet, Rufus (Maxie), a sweet black bulldog (at least he looks like one). This angers Elle, who’s often seen toting her own canine “family,” little white Chihuahua, Bruiser (Lottie). Emmett accompanies Elle to Paulette’s ex’s trailer to claim custody of Rufus, as she’d lived with him for ten years. Elle uses legalize to threaten all his property and a joyous furbaby-family reunion ensues, while Elle feels the thrill of brandishing the law for good. Needless to say, everyone in the audience was charmed by these precious and well-behaved four-legged actors. 

Then, of course, there’s the iconic “Bend and Snap” scene in Act Two, first enacted by Elle, Paulette, Serena, Margot, Pilar and Salon folk. Which also serves to confirm Elle’s gaydar about hot young pool boy, Nikos (Santiago Garza), who falsely claims on the witness stand to be Brooke Wyndham’s (Allyson Rosenblum) lover. Emmett ends up tricking him into admitting he has a “boyfriend” and said boyfriend, Carlos (Corey Vega) then jumps up to stake his claim on his lover. 

Emmett is among Callahan’s four interns who’ve taken on the high-profile case of famous fitness guru Brooke who stands accused of murdering her billionaire husband. But it’s only Elle, her fellow Delta Nu sorority sister, whom Brooke trusts. Meanwhile,  we get the pleasure of witnessing her unforgettable fitness number, “Whipped Into Shape,” a high-speed jump rope spectacular starring Brooke, Callahan and Company. 

One of my all-time favorites (though likely politically incorrect) is “There! Right There!” an elaborate performance piece by Elle, Callahan, Emmett, Brooke, Vivienne, Warner, Enid, Judge, Nikos, Carlos and Company – basically everyone in the courtroom. Where there’s an ongoing verbal inquiry if certain qualities make a guy gay, or simply European (“or maybe both, like the French”), indicated by wearing pointy shoes or short shorts or dressing with flair. This number was simply non-stop, laugh-out-loud funny … and recognizable to anyone exposed to a certain class of European male. 

The story of Elle ends on a high note of girl power, achievement, and recognition … even the right kind of love. “Legally Blonde” is now seen as a positive, there’s a reprise of “Omigod You Guys,” and a touching “Find My Way/Finale” starring Elle, Paulette and Company. In all, a satisfying conclusion to a surprisingly riveting, charming and utterly delightful theatrical experience. Similar in plot yet so different from the movie in its creative set design, varied catchy music, striking choreography, and impressive vocals, Legally Blonde: The Musical radiates a welcome pink aura of hope for us all. 

One more fine production of ACM (Arts Center Management) Theatricals, Broadway at LPAC presents LEGALLY BLONDE: THE MUSICAL through March 16 at the Lauderhill Performing Arts Center, 3800 NW 11th Place, Lauderhill 33311. (Located in the Central Broward Regional Park on the Northeast corner of Sunrise Blvd and SR7.) For tickets head to www.lpacfl.com or call 954-777-2055.