Review: LEGALLY BLONDE at Berkeley Playhouse

LEGALLY BLONDE explodes onto the stage at Berkeley Playhouse with a joie de vivre that lights up the house. The high energy dancing, powerful vocals and the never ending onslaught of jokes keep the audience smiling. Like Elle, the show isn’t afraid to get a bit serious, and drop some truth bombs among all the fun. The crowd responds with snaps and whistled approval in sisterhood unity. This 2007 musical adapted from a 2001 movie continues to be relevant and set the standard for a screen to stage adaptation.

The show follows Elle Woods, a senior fashion merchandising major at UCLA who eagerly anticipates a marriage proposal from her boyfriend, Warner Huntington III. When Warner breaks up with Elle instead, saying that she’s not serious enough to fit in with his future plans, Elle seeks support from her Delta Nu sorority sisters. Elle decides to prove to Warner that she can be serious and follows him to Harvard Law School. Here Elle learns how law can help people and that her special perspective allows her to see things that her more serious classmates do not. Elle’s journey of self-discovery leads her to confront tough situations and forces her to make even tougher choices.

Berkeley Playhouse has a reputation for producing high energy shows, and LEGALLY BLONDE is no exception. The entire cast is going full throttle from start to finish. Ayani Dorsey gives Elle Woods the biggest, sweetest, heart-tugging smile and a soulful voice. Her version of Elle is sweet, kind, a tad demure, but not nearly as funny as Elle can be. She still lands plenty of laughs with the great lines and dialogue from the book by Heather Hach, but she doesn’t do much to embellish or enhance the funny side of Elle. Still, you can’t help rooting for her from the word go. Warner, played by Milo Boland, is instantly recognizable as someone not worthy of Elle. His privilege and ego ooze from every pore, but I wish I had seen a bit more of the charm that would have made Elle fall for him in the first place. Jai Kushik’s Emmet is a bit understated, but carries an air of authenticity. He is a bit overpowered by Dorsey in their duet, but again, you can’t help but root for him. Enid, played by Jazzy Maestro, lands every joke with precision and clears room for the next joke that’s already on its way. Her knowing looks and quick verbal jabs make a big impact. Grace Margaret Craig as Vivienne gives us a complete arch from snooty law student, to questioning her own judgement, to full sisterhood support. You don’t always see the in between with this role, and Craig does a great job of planting the seeds for the transition as well as belting out some killer vocals.

Heather Mae Steffen as Brooke Wyndham is a force to be reckoned with. From her jump rope prowess to her freeze frame backbend, Steffen almost forces a suspension of belief. Her character is more than just strong as she adds humor and warmth in her prison and courtroom scenes. Karen Canfield will hold your attention as both Gaelen and Chutney. Her physical comedy is great. Keli’i “Kaos” Salvador always makes his presence felt whether it’s in a group dance scene, the hair salon, or courtroom. He gives everything a little something extra. Speaking of extra, Kit Town and Emily Couch, make a big impression as the perfume ladies. Somehow they make a one joke bit into an ongoing sketch that keeps delivering laughs along with some beautiful dancing. Adam Mendez Jr as both Dewey and Kyle is two sides of a coin. He manages to make confidence offputting in one and totally charming in the other. Elizabeth Curtis as Paulette is divine. She gives Paulette all the quirky bits without being a copy of Jennifer Coolidge. Her authenticity shines as much as her voice soars. 

There are many strong performances in the cast of LEGALLY BLONDE, but truly, Serena, Margot and Pilar, played by Mercedes Dawnte Long, Casey Dela Cruz, and Gabrielle Ocampo respectively, are the three biggest reasons to see the show. These Delta Nu sisters and Greek Chorus simply slay. From the first note to the last, they held court on stage and made you want more. Long is quite possibly the buffest Serena I’ve ever seen, but she matched her physical strength with strong character. Ocampo’s Pilar is simply adorable. She is sassy and a touch clueless, and that friend that never has to be asked twice. Dela Cruz is working on a different level. The intentionality of every eyebrow raise, smirk, wink is so perfectly placed. She reacts to every line of dialogue and song. Her face tells the entire story so well that you almost don’t need words. Nothing escapes her attention, and nothing is left to be performed at the base level. Even her exiting walk is stylized to fit the moment. It’s not that she pulls focus from the story, but rather that she is the most interesting thing to watch on stage. I look forward to seeing what she does next.

Directed by No’eau Kahalekulu, the show has a clear identity. The energy and whimsy are full throttle while the heart of the story shines through. The transitions are quick, and the show makes great use of the full space. The scenic design by Sarah Phykitt is clever and aids in those quick scene transitions. The costumes by Ashley Renee and Lynda Hornada are fun and colorful, but often leave the actors in a precarious state due to the choreography and movement of the show. Sophia Craven’s lighting design not only sets the mood, but also adds whimsy with the use of gobos and other elements to change the proscenium and background. Her use of downlight for key moments helps bring a sense of urgency to those scenes. The choreography by Cat Delos Santos Reyes gives the show its heartbeat and many wow moments. Kahalekulu has a lot to be proud of with her team of cast and crew.

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