[NEohioPAL] REVIEW: Legally Blonde: The Musical at Players Guild Theatre

[Tom Wachunas]

Forgivably Flawed, Infectiously Funny
By Tom Wachunas
    One could make a
compelling case for seeing the Canton Players Guild production of Legally Blonde: The Musical (2007
Broadway production based on the 2001 film starring Reese Witherspoon, original
novel by Amanda Brown)as agood example of the whole being greater
than its parts. To wit, the singing, particularly in some important supporting
roles, is far from pitch perfect.
    I’m willing to
stipulate that the guilty parties – those with perhaps limited vocal training
or experience with live orchestras - give it their best shot, and could to some
degree claim mitigating circumstances beyond just opening night jitters.
    Among those circumstances could be the uneven
volume balance between singers and the otherwise excellent nine-piece orchestra
under conductor/keyboardist Steve Parsons. In more than a few instances, the
musical arrangements overpower the vocalists and too many lyrics get lost. It
is worth noting that this musical isn’t all that memorable for its songs per se
(music and lyrics by Laurence O’Keefe and Neil Benjamin). While some are
certainly engaging for their snappy pop flavoring, clever wordplay and
satirical wit, none of the songs distinguishes itself as really iconic or
groundbreaking. Think of it as the difference between prime rib and a fluffy
omelette. As things are, maybe the singers here can’t hear themselves enough.
The result is that melodies can seem lost in a search for the right note.
    You’d think that flaws of this nature might
make any musical crash and burn. Call it a counter-intuitive phenomenon, then,
but this briskly paced production, directed by Craig Joseph (with a cast of 28
performers, an accompanying six-member vocal ensemble and two achingly adorable
dogs), soars above its potentially deadly shortcomings with indefatigable
panache. 
    Much of the wholly
infectious energy of the story is generated by the central character of Elle
Woods, a jilted, bubbly blonde sorority president who chases her ex- boyfriend
all the way from L.A. to Cambridge, where she hopes to earn her Harvard Law
School degree and win him back. As Elle, Taylor Scott brings new meaning to
‘perky’. Appearing in every scene, we watch as she deftly comes to prove she’s
a lot smarter (she won’t settle for being a trophy wife), self-assured and more
compassionate than her superficially ditzy demeanor would indicate. Throughout,
Scott’s voice is infused with a crystalline girlishness that can convey
powerfully effervescent confidence. She can also project convincing
vulnerability, as evidenced in the show’s sweetly plaintive title song.
    Wes Morales plays
the moneyed, pedigreed and ambitious ex-beau, Warner, with just the right touch
of self-absorbed judgementalism and cockiness. He dumps Elle because he thinks
she’s too much Marilyn and not enough Jackie.  Countering that is Scott Miese as Elle’s
tender-hearted law school mentor, Emmett, who eventually wins her affections.
While both Morales and Miese bring genuine credibility to their roles, as
singers both are mis-matched to Taylor Scott’s more penetrating sonority.  
     At one point in Act I, Elle befriends
Paulette, an outspoken, street-wise beauty salon owner with an unreasonable
penchant for (and terrible track record with) Irish men. In her role of
Paulette, the versatile and electrifying Lisa Belopotosky Knight fuels some of
the show’s most delightfully raucous scenes. Among those are her show-stopping
solo performance of Ireland and her
funny contortions in Bend and Snap. Gut-
splitting in every sense of the word. More shenanigans ensue when she swoons at
the arrival of a UPS courier named Kyle who, we later find out, turns out to be
Irish. He struts into her shop, mugging to the audience all the while, and with
all the corny macho of a Chippendale dancer. In that role, Gregory Rininger is
over-the-top hilarious.
    So too the chaotic
courtroom scene in Act II, wherein we hear the song, GayOr European? It’s a thoroughly irreverent skewering of social and
ethnic stereotypes. Ultimately it prompts a cartoonish, suave witness named
Nikos (Jaime Stabile) to launch into a gushy show of affection for his lover,
Carlos (Michael Ritzert), who returns the favor with howling gusto.
    Throughout the
proceedings, a trio of Elle’s sorority sisters appears to her in the form of a
supportive “Greek Chorus,” providing a series of very funny encouragements and
editorial asides led by the sharply animated Sarah Karam. And speaking of
animated, the big dancing routines choreographed by Michael Lawrence Akers are
an impressive mix of comedic spunk and exhilarating athleticism.    
    In the big picture
here, consider the aforementioned singing weaknesses as forgivable
misdemeanors. For this show is a bold-faced entertainment conspiracy in hot
pink that successfully wreaks unrelenting fun and optimism upon the paying
public. If that conspiracy were a crime, then director, cast and crew should be
summarily convicted. Case closed.
    Legally Blonde: The Musical,  Canton Players Guild Theatre Mainstage,
located in the Cultural Center for the Arts, 1001 Market Avenue North, Canton,
Ohio. Shows at 8 p.m. Fridays and Saturdays and Sundays at 2:30 p.m., THROUGH
SEPTEMBER 30. To order tickets please visit www.playersguildtheatre.comor
call (330) 453 – 7617
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