WHAT: Legally Blonde
WHERE: Prescott Park Arts Festival
BLURB: Lots O' Fun
HIGH POINT: Terrific Artistry and Stage Talent
Time to break out the blankets and make your way to the park for what is surely one of the finest productions to grace its stage.
Legally Blonde is pure artistry delivered as a massive dollop of energetic, sassy and silly entertainment. Yup, it's that good.
The musical, by Laurence O'Keefe and Nell Benjaminwith a book by Heather Hatch is based on a popular eponymous book and film.
The show begins on the UCLA campus. Sorority girl Elle Woods (whose signature color is pink) is supported by her Delta Nu sisters as she prepares for what she anticipated as an engagement. Elle expects Warner, her boyfriend, to propose at dinner. Instead she's dumped after years of being together.
Warner explains, Elle's frivolous exterior and tastes don't fit with the new "serious" life he's envisioned for himself as a student at Harvard Law School, and later in politics.
Elle decides to follow him to Boston, determined to get admitted to Harvard, prove her serious side and win him back.
She's admitted, but her cutesy exuberant demeanor and cavalier approach to studies rankle fellow students, as well as Warner, who is now engaged to Vivian an blue-blood, uber serious law student.
In short order Elle is the butt of classmates' jokes, and then dismissed from her class by Professor Callahan for her frivolous attitude.
Her only champion is teaching assistant Emmett, and an imagined Greek Chorus of Delta Nu sisters.
There's a new friend, beautician Paulette, a reevaluation of her priorities, a triumphant case, nasty turn of events, and finally a surprising twist.
It's an "all's well that end's well," laugh filled tale.
Heading up this production's talented collective is incisive Director Tom Alsip. His first perfect move was cast selection; each actor creates a believable and colorful persona regardless of a role's size.
In addition Alsip moves his performers and scenes artfully.
The multiple scene changes are seamless and unobtrusive. His use of the stage is interesting, and energetic. The entire package is a well oiled machine.
And of course at the center of it all, the multi talented actors.
The cast is led by Payton Hines as Elle, a true powerhouse. A true triple threat, Hines puts the pedal to the metal and never lets up. Her Elle is flawless, a distinct, effusive and feisty character.
In addition, Hines' sports a euphonious singing voice, assured, and commanding. The sum total - an impressive performance.
To a person each actor creates a clear personality even when a role is thinly written (as are most). In addition each sings the hell out of their song, solo to combo.
Andy Cico is spot-on as the elitist, dufus Warner, what a weasel. AJ Gori gives Emmett depth, sincerity and authenticity. Both actors add attractive, and strong voices to their roles.
Lexi Stephens is the quintessential snobby and jealous Vivian, with every move and note perfectly in place; it's a polished, standout portrayal.
Sarah Joy Kane's Paulette, Elle's hairdresser friend, is a hummer, thanks to her fine comedic timing. Kane creates a truly endearing character, and here again sports a strong set of pipes.
The three Delta sisters/Greek Chorus members played by Tayler Aprile (Serena), Rachel Alvarez-Robinson (Pilar) and Nova Gomez (Margot) are hilarious and delightful in every way, and add a trio of smart vocals.
The role of Kyle, the UPS guy and Paulette's love interest, is written as a scene stealer - that is if the actor has the chops.
Luckily, Adam Furgal does in spades. When Kyle steps on stage all else fades into the background, and his comic demeanor dominates.
Darrick Brown hands in a consummate performance as Professor Callahan, and Abby Kaye makes Enid, the no-nonsense, feminist student her own. Taylor Fish gives us a smart Brooke Wyndham, Elle's legal client. And once again - impressive voices all.
Kudos, too, to all the character actors and ensemble members for bringing color and multiple talents.
The show's visuals are all they should be, and a bit more.
The set by James Rotondo, is perfectly designed for the script's action, and sound, and is visually stunning. It's set off beautifully by Bretton Reis's attractive and enhancing lighting design.
The two appear a well synced team. Love how the lighting design smoothly transforms the set's colors to relevant hues as the scenes and moods change.
The interesting and colorful costumes by Victoria Carot are era and character perfect.
The high spirited choreography by Mary Beth Marino is on point (and oh that "Brendan" scene - deeeelightful).
When it comes to sound, the striking band, led by Music Director Breanne Battey, is full, vibrant and the perfect accompaniment, her work with the vocalists is equally deft.
I'm so glad you mentioned how loud the sound was. It was painfully so for my husband and I in our 60's.. Can't imagine how uncomfortable it may have been for those younger. Thst said, it was really a fun show and professional performance!