Presented by: Elder Conservatorium Music Theatre
Reviewed: 29 September 2022
Inevitably every review of Legally Blonde should start with “Omigod You Guys“…Guess what? “Omigod You Guys!” This production is a winner! Nikki Snelson has been parachuted in from afar to whip this group of graduate performers into shape. She has a string of Broadway and world-wide credits to her name as a director and choreographer, and this one will be added to the list. She has crafted a beautiful and near flawless piece of work with these graduating students from The Elder Conservatorium Music Theatre Course. Often with a student production the cracks can easily show and interrupt the flow of the piece, but Snelson is so at one with her craft that the show slides along on a beautifully and meticulously engineered path from scene to scene on a journey that leaves you hungry for the next step in the story of Elle.
There is something for everyone in the production and, as I said to my playdate, you don’t have time to breathe and, quite frankly, you don’t want to. From the opening number, Omigod You Guys (see, there we go again), when Elle’s sorority sisters/Greek chorus (Barbara Toparis, Katia van Hilten, Megan Wills and Nikki Long) burst onto the stage ably assisted by some very strong ensemble players, followed by Elle’s (April Beak) entrance and playful and engaging set up for the story to sit on, I was fully immersed in a really on-the-money Broadway production. I wasn’t watching a student graduate show; I was watching a fully developed Broadway/West End standard performance that never dropped below professional standard. That is the product of three years of industry standard education and coaching of the music theatre practitioners and stars of tomorrow.
Everyone gets to shine in this production. There is not a moment when the talents and future professional employment possibilities are not on show. April Beak breathes life into Elle Woods. She is sharp, capable and oh so watchable with a really strong, flexible voice. Her relationship with the other players gives her and, through her generosity as an artist, the other players on stage great range and possibilities that never get wasted. Harley Dasey (Emmett Forrest) gives a really solid performance. It is a role that demands nuance and heart and it was there in spades. Callum Worthington (Warner Huntington III) was just the perfect level of obnoxious and we all got to love hating him. Mackenzie Garcia’s Vivienne Kensington has the chops to go from stuck up rich girl to ally seamlessly. We all need to love her in the end, and we did.
Joshua Ridge as Professor Callahan showed maturity and range both physically and vocally. Having just seen his performance in Les Miz the versatility was visible and impressive. Paulette Buonufonte, played by Shanee Osbourne, is a gift of a role and she made the most of it. This is a performance that you won’t forget in a long time and, like her contemporaries, I think we will be seeing a lot more of her in the future. Sasha Simić as Kyle was the perfect foil for her and the fulfilment of Paulette’s dream man is a moment to be savoured.
It is difficult to write a review that does a huge ensemble cast like this justice: the Greek chorus of women who provide Elle’s inner monologue – stunning work; the smaller roles that demand focus and energy to keep the story on track – exceptional; the ensemble work and the boundless energy from both the male and female ensemble players – on point.
There were standout dancing performances, and So Much Better at the end of Act 1 couldn’t get much better vocally and technically. The opening of the second act with the skipping rope routine Whipped Into Shape – “Omigod You Guys” (I must stop doing that)! Ambrielle Payne’s Brooke was sensational with skipping and singing! Put that on the CV! Bend and Snap was really tight and entertaining work.
The acting scenes were as energetic and smooth as the singing and dancing. I think the three years of training have turned out a very employable bunch of triple threats and some real star material.
The fairest way to give everyone a look at the cast is to share the programme which was provided to the audience via a QR code:
https://able.adelaide.edu.au/music/ua/media/911/legally-blonde-program.pdf
Download it, keep it safe and check every new musical that comes through town. I’m betting you’ll see a few names in the touring programmes of visiting shows.
It takes gifted and far-seeing educators to set up a performing arts training that gives students noticeable and employable skills at the end of their training. George Torbay has in a very short period of time put the ECMT course into a very highly regarded place in the performing arts training sector. This is a course in high demand, training and showcasing the leading musical theatre talents of the future. These graduates could appear in a Broadway or a West End show at professional level. Congratulations on graduating such usable talent with such a high class and entertaining piece of Music Theatre.
A final mention for Martin Cheney’s musical direction. Great tempos, unstinting attention to musical detail and great wrangling of a stage full of performers and a pit full of musicians. Great work.
Reviewed by: Adrian Barnes
Venue: Scott Theatre, University of Adelaide
Season: 29th Sept – 2nd Oct
Duration: 2 hours 30 mins (inc interval)
Tickets: From $39
Bookings: https://www.trybooking.com/events/landing/928390
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