Praise must go to Natalie Gallacher as casting director, as the Legally Blonde cast reflect a diverse society. Lauren Drew stands out as Brooke Wyndham. This Legally Blonde is an assured and snappy production which fits slap-bang into the present day.
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This production of Legally Blonde is as fresh as the air it’s performed in. When casting directors think outside of the box and create shows with the same variety that exists in the real world, theatre can really dazzle. And on this occasion, Legally Blonde is so much better for it.
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It’s weird, visually striking and basically pretty funny, but I found it very difficult to get a handle on it emotionally. Never in a million years could this yassified, camped up, queered up take on ‘Legally Blonde’ have served as the original: it is emphatically A Version.
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Bowman ... not only possesses a terrific set of lungs, but denotes the character’s journey of self-discovery with nuance, shifting from initial hurt and bashfulness to indestructible resolve. I would have loved more of is memorable songs.
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Bowman holds her own against scene-stealing turns from big-voiced Nadine Higgin as Elle’s beautician ally Paulette and the lithe Lauren Drew as her fitness guru client Brooke. If you love the film, or if you simply go with an open mind and heart, you’ll have a whale of a time.
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Moss ... has done something quite remarkable. While upping the fun and the fizz, she has also made it an inclusive power-house of a musical. She also hauls it into 2022. Ellen Kane's choreography is truly fabulous. On its own terms, the whole thing succeeds with magnificent, all-embracing confidence. I had the best of times.
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Moss’ all-out approach to comedy comes at the expense of heart, but it mostly works. Mostly, the unrestrained approach adds to the show’s inherent silliness, but sometimes it makes things look a little sloppy. The set design featuring tassels of blonde hair hanging in fringes is an ugly backdrop.
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Go with an open mind and you’ll be blown away. Moss’s diverse casting reinvents conventional ideas of beauty, in line with the idea that character trumps superficialities. Laura Hopkins’s set isn’t easy on the eye.
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