Legally Blonde, The Musical (theatrical), at The National Theatre - 2 hours 30 minutes, including interval

Elle Woods’ superpower in Legally Blonde is staying true to herself.

And so it is that the star of the show wins us over amidst much froth and bubble.

The musical grew out of the successful 2001 film of the same name, which starred Reese Witherspoon in the title role.

The story concerns the exploits of a popular, fashion-conscious sorority president who is devastated when she is unceremoniously dumped by her entitled boyfriend.

Photos by Nicole Cleary

He is headed for Harvard Law School and doesn’t consider her serious enough.

Vowing to win him back, she works hard to secure a place in the same course at the same institution.

Once there, all judge her on her look (with her blonde tresses, she loves pink) and her effervescent demeanour.

They consider her lightweight and frivolous.

So, with the help of a fellow student who is three years ahead of her, she learns to knuckle down and do the hard yards.

That impresses a professor with a ruthless reputation that all have trouble pleasing.

Then the fight starts to try to secure the exoneration of the female head of a fitness empire, accused of murdering her older husband.

Through the process, Elle proves her resilience and that her natural instincts are right on the money.

The former boyfriend and university professor are left in her wake.

With music and lyrics by Laurence O’Keefe and NeIl Benjamin, and book by Heather Hach, Legally Blonde: The Musical was first performed on Broadway in 2007.

theatrical’s production is lively, energetic and full of amusement and hijinks, with some wonderful performances.

Foremost amongst them was the understudy who took the lead. Gemma Hollingsworth is a star in the making. She nailed the part of Elle Woods and how!

With a beautiful tone and memorable expressions, she took us with her on Elle’s journey of growth and maturation.

There is a delightful awkwardness about her mentor Emmett Forest, as adroitly played by Jackson Cross without any pretence.

As soon as she appears on stage as Elle’s hair stylist Paulette Bonaforte, I knew we had somebody special in Liliana Braumberger.

She is a born entertainer whose comic sensibilities are A+, as she leans into the role with alacrity and joy.

Another who stood out for all the right reasons was Tabitha Gallucio, who appears in Act II as exercise queen Brooke Wyndham.

To sing well while skipping rope at pace is no mean feat and she does so with aplomb, immediately making her unmistakable presence felt.

With his exaggerated swagger, Steve Thomas plays up and milks the part of new UPS courier Kyle, who instantly catches the eye of Paulette.

Tahlia Pizziara has a largely thankless role as Elle’s ex-boyfriend Warner’s new girlfriend, Vivienne, but she comes to the fore admirably as the plot develops.

For his part, Joshua Sumner brings attitude to Warner, which he could have pushed even more with greater exuberance.

Julian Dods has authority as intimidatory Professor Callahan, while Kadee Axiak has some knockout moments as Enid Hoops, one of his select interns.

Supported by an enthusiastic cast, the chorus harmonies really "sing" (if you pardon the pun).

And it would be remiss of me to forgo mention of the two oh so gorgeous lap dogs that appear in the show.

They are diminutive, cute and cuddly and so obedient. Truth be told, I wanted to race onto the stage and steal them away.

Elle’s charge, Bruiser, is played by George, while Paulette’s four-legged companion, Rufus, is the domain of Indi.

I would have liked to see more pop in the bridge-like set, which is the backdrop throughout, while the hair salon is well realised, dropped in from above.

Scene changes are seamless as props are wheeled in and out by the hardworking crew.

Neat costuming choices by designers Ella Campbell and Sarah Browne land.

Maggie Lynch’s choreography is consistency strong, as is musical direction from Kent Ross, who leads an adept orchestra positioned under the stage.

Director Aimee Forrest has commendably captured the vitality inherent in a plot that turns the tables on, and has fun with, the stereotype of the vacuous blonde.

As mentioned, my biggest takeout though was the emergence of Gemma Hollingsworth as a talent to be watched and savoured.

Legally Blonde: The Musical is on at The National Theatre until 27^th July, 2025.