Could LEGALLY BLONDE THE MUSICAL Be Belmont University Musical Theatre's Best-Ever?

With its silver anniversary year within sight, Belmont University Musical Theatre concludes its 24th season with what is perhaps its best show yet: Legally Blonde, The Musical. Featuring a remarkable cast of student performers, including most of the Class of 2024, which is arguably the most accomplished and most promising group of students assembled in the program’s quarter-century of musical theatre pedagogy and preparation, this Legally Blonde could easily hold its own against other productions of the tremendously entertaining show, whether on tour or even on Broadway.

Beautifully staged, with an impressive production aesthetic thanks to the scenic design of Will Butler, lighting design of Richard Davis, video and projection design by MA2LA and sound design by Conner Altwein, Johan Burch and Ben Ossa, BUMT’s Legally Blonde has an artistic and technological foundation quite unlike anything we’ve seen locally (and we’ve seen a lot of shows in 35-plus years) that allows the show, its story and its characters to dazzle and delight audiences in Belmont University’s stunning Fisher Center for the Performing Arts, which is perhaps the most eye-poppingly gorgeous theater venue in town.

Clearly, Legally Blonde The Musical – as originally conceived – has a lighter-than-air, almost effervescent quality about it. You cannot deny it's like a big ol' puff of pink cotton candy about to send you into a sugar-induced high – but there's an undeniable sensibility inherent in the show’s DNA which allows it to shine, creating in Elle Woods a role model for pre-pubescent and adolescent girls and fledgling gay boys alike. There’s a certain method to her heartfelt and genuine madness, but there is still much more substance to Elle than you might expect after a cursory consideration. Thanks to the focused, creative vision of BUMT’s creative team, led by program coordinator Nancy Allen, this contemporary take on sisterhood and the evolution of the American woman evokes more gravitas than we’ve witnessed in countless stagings of Legally Blonde since its 2007 debut on Broadway.

Superbly directed (as we’ve come to expect) by David Shamburger, with exhilarating musical direction by the always phenomenal Jo Lynn Burks (her musicians really deliver the goods with their performance of the show’s score), and electrifying and energetic choreography by Anna Perry (who recently became a new mother once again), Class of ’24 member Miranda McCauley and Casey Hebbel (herself a BUMT alum), BUMT’s Legally Blonde stars seniors Kendall Bryant and Emma Teixeira alternating in the eponymous role of Elle Woods, the golden-tressed, Malibu Barbie fashion merchandising student at UCLA who decides on a whim to apply to Harvard Law in hopes of snagging her undergrad boyfriend Warner Huntington III (alternately played by Josh Jordan and Noah Henry) for a trip down the aisle, only to find out that her attention to detail makes her a better-than-most attorney. Based on the novel by Amanda Brown and the megahit MGM film (which starred Nashville’s own Reese Witherspoon as Elle), the musical theater version features a smart and sharply written book by Heather Hach and a memorable score by Lawrence O’Keefe and Nell Benjamin, that streamlines the story to focus on Elle’s fish-out-of-water experiences in the Ivy League and adds depth to their heroine’s supposed bona fides, both as a scene-stealing charmer and smarter-than-she-seems-at-first-thought law student.

Played in the performance reviewed by the sublimely talented Bryant (who very well seems to have been born to take on the role), Elle is confident and commanding, fashionable and fit and is brought to life onstage via the actor’s superb vocal performance, impressive dancing skills and unerring ability to deliver every line – in fact any line, no matter how inane or, conversely, vital to the plot – with conviction and authenticity. From her very first moment onstage, at the climax of the signature show-opening “Omigod You Guys,” to her show-ending valedictory address, Bryant’s Elle is always in her element, while almost always onstage and dressed in costumer Melissa Durman’s stylish pink ensembles, showing off her remarkable stage presence in the process. Likewise, In her big 11 o’clock number – “Legally Blonde” – Bryant virtually stops the show.

She is convincingly paired with the tremendously versatile Simon Elliott (who alternates in the role with First Night award winner Henry Beddoe) as Elle’s law school tutor/paramour Emmett Forrest. Elliott very intelligently brings his character to life with aplomb and a confidence that rivals Bryant’s, and their onstage chemistry makes them both relatable and eminently watchable. In fact, one of the best scenes in the production comes when Elle insists on dressing Emmett for success by taking him to a tony department store in which he is transformed from public-radio-cuddly boy-next-door to GQ-worthy hottie.

As Elle enters Harvard, she’s greeted by a coterie of characters whom we came to know in the film treatment and who now are more likely to express themselves in song and dance than they did in the Hollywood version. The aforementioned Jordan is terrific as the uptight and vacuous Warner, while Alaina Bozarth is delightful as the disdainful and blue-blooded Vivienne Kensington. As hairdresser Paulette Buonofuonte (who quickly becomes Elle’s bestie in Boston), Katherine Crandall breathes down-to-earth realness into the proceedings, showing off her talents with finesse; she’s paired with Jeremiah Gascho, who plays the role of the sexy heartthrob UPS guy Kyle with sincerity and a definite flair for comedy.

As dastardly Professor Callahan, Dylan James is equal to the task of “aging up” convincingly, and Abby Scalici is ideally cast as fitness maven Brooke Wyndham – “Whipped Into Shape” is one of the show’s choreographic highlights, for sure, which was choreographed by Anna Dudley (who shines as Enid). Leah Spurlock, Xavier Wilson, Josh Fermin and Isaac Bouldin shine in supporting roles.

Peyton Tabb, Rachael Gomez and Maya Kaempf, as Elle’s best girlfriends who double as a Greek chorus of sorts throughout the show before making their real-life appearance at Brooke’s trial, very nearly steal the show with their awesome performances.

The pace of the show’s action in Act One is tremendous, leading up to “So Much Better,” which closes the first half and shows off Bryant and the rest of the cast to musical perfection. Act Two builds on the energy of the first stanza, leading to what may be the show's best musical number "That, Right There!" which asks the musical question, "Is he gay or European?" It’s enormously engaging, terrifically entertaining and cleverly staged, delivering a payoff that musical comedy audiences live for…and giving Grant Weathington and Christian Sandoval a chance to make musical theater history at Belmont.

Legally Blonde, The Musical. Music and lyrics by Laurence O'Keefe and Neil Bergman. Book by Heather Hach. Directed by David Shamburger. Musical direction by Jo Lynn Burks. Choreography by Anna Perry. Presented by Belmont University Musical Theatre at The Fisher Center for the Performing Arts, Nashville. March 22-24

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