Tag Archives: Lucy Moss

Legally Blonde

Legally Blonde

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Regent’s Park Open Air Theatre

Legally Blonde

Legally Blonde

Regent’s Park Open Air Theatre

Reviewed – 24th May 2022

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“It is a joy ride, although it does sometimes feel like you’re riding on a bus full of teenagers”

 

So where exactly did the stereotype originate? The Blonde Stereotype that is. Negative (β€˜dumb blonde’) or otherwise (β€˜blonde bombshell’), the perception of blonde-haired women has ignored the lack of evidence that suggests that blondes are less intelligent than other people. The first recorded β€˜dumb blonde’ appeared in a French play in 1775; β€œLes CuriositΓ©s de la Foire’. She was dumb in the literal sense in that she didn’t talk much. Since then, blondes have had more fun, gentlemen have preferred them, and Hitchcock has fetishized them.

In 2001, writer Amanda Brown wrote about her experience as a blonde at Stanford Law School in various letters to friends which later became a novel and the box office success that was β€œLegally Blonde”. The musical, with music and lyrics by Laurence O’Keefe and Nell Benjamin and book by Heather Hach, opened on Broadway in 2007 to mixed reviews. It’s West End run, starring Sheridan Smith, won three Olivier Awards, including Best Actress in a Musical for Smith.

The temptation is strong to focus on the possible relevance the story might have in today’s society. It is a clichΓ© to state that times have certainly changed since the narrative themes burst forth into our consciousness. But it is safe to say that Lucy Moss’ staging is as self-aware as it can possibly be. Moss, riding on the global success β€œSix”, brilliantly uses the opportunity to satirise pretty much every stereotype possible. Nobody is safe. But what is extraordinary under her direction is the sheer sense of fun she brings to the production.

β€œSix” alumni Courtney Bowman commands the stage as the central character, Elle. Heartbroken after being dumped by her boyfriend Warner (Alistair Toovey) for not being serious enough, she decides she can win him back by showing she can achieve the same ambitions in the legal profession as him. In a plot line that loses touch with any form of credibility, she is accepted into the law school, rises high against odds and prejudices and eventually surpasses Warner. Along the way, everybody is put in their place, including misogynist law professors, jealous perjurers, closet gays. In fact, the characters who come out on top are the underdogs. The seemingly vacuous who ultimately reveal more depth than those who mock them.

Despite being hindered by a predominantly unmemorable score, the show still wins us over with its anergy and infectious comedy. And a couple of musical delights. The wit of O’Keefe and Benjamin’s lyrics shine through in particular during β€œSerious”, β€œBlood in the Water” and β€œGay or European” which is surely the highlight of the night. It is miraculous how the words are sung so clearly with tongues so firmly set in the cheek. Homophobia, jingoism, and a whole host of other β€˜isms’ are shot to the ground in a joyous few minutes of musical theatre snap, crackle and pop. Act Two opener, β€œWhipped Into Shape” showcases Ellen Kane’s slick choreography, pushing the all singing, all dancing ensemble to the limit.

β€œLegally Blonde” retains its comedy and loses none of its subversiveness in this brash and thoroughly camp production at Regents Open Air Theatre. It is a joy ride, although it does sometimes feel like you’re riding on a bus full of teenagers. Whilst there is little room for subtlety against the backbeat and spectacle, the current MT trend to introduce a Disney, cartoon-like, nasal shrillness to the delivery does grate over a couple of hours. But it’s worth it to reach the happy ending, buoyed up by the feel-good sensations that bounce the evening along.

 

Reviewed by Jonathan Evans

Photography by Pamela Raith

 


Legally Blonde

Regent’s Park Open Air Theatre until 2nd July

 

Last show reviewed at this venue:
Romeo and Juliet | β˜…β˜…β˜…β˜… | June 2021

 

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Six

Six

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Vaudeville Theatre

Six

Six

Vaudeville Theatre

Reviewed – 9th November 2021

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“a sensational show … the script sizzles with wit”

 

Does Six need introducing? Is there anyone at this point who isn’t aware of the musical phenomenon that’s snowballed massively in popularity since 2018, resulting now in its permanent fixture at the Vaudeville Theatre? Probably not. Its simple but effective and easily marketable concept is what propelled the show so far, after all. But, three years on, does it still stand up, stand out, and hook you in?

For those unfamiliar with the premise (both of you), Six sees Henry VIII’s wives brought together on stage. They decide to perform for the audience in turn, each trying to prove that they were the wife who had it the worst. They all rise to the challenge, belting out anthems to the audience about the hardships they suffered, in what feels more like a concert than a run-of-the-mill musical: the band (led superbly by Lauren Hopkinson) are prominently on stage for the whole performance, the costumes (Gabriella Slade) look like they were stolen straight out of the wardrobe of the latest pop icon’s arena tour, and the set (Emma Bailey) and lighting (Tim Deiling) are clearly invoking the feeling of being at a gig. It makes for a spectacle for the senses which frequently dazzles.

The cast are also clearly having an absolute blast. Under the direction of Lucy Moss and Jamie Armitage, they work stupendously well together, quickly establishing defined characters through bickering interactions between songs and generating a rapport that’s a delight to watch. The standouts were undoubtedly Cherelle Jay and Alexia McIntosh, who in this performance played Anne Boleyn and Anna of Cleves respectively. Jay’s song, β€˜Don’t Lose Ur Head’ is performed with enrapturing charm and cheekiness, while McIntosh’s smugness and interplay with the audience in β€˜Get Down’ will leave your face hurting from the grin that’ll be plastered on it. The vocals from all the cast are also jaw-on-the-floor fantastic, with Hana Stewart (Catherine Parr in this performance) being especially exceptional.

Toby Marlow and Lucy Moss have crafted a sensational show together: the music would feel right at home in the charts but never forgets to serve the characters above all else, and the script sizzles with wit. There are some moments towards the end when it feels a little student-y, but it’s tremendously easy to overlook when the rest of the show is so joyous. Six is still totally superlative, and I expect it will continue to be for many years to come.

 

Reviewed by Ethan Doyle

Photography by Pamela Raith

 


Six

Vaudeville Theatre until 1st May 2022

 

Previously reviewed at this venue this year:
Constellations | β˜…β˜…β˜…β˜… | August 2021

 

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