Legally Blonde – Open Air Theatre Regent’s Park

Courtney Bowman, Billy Nevers and Allie Daniel in Legally Blonde at Regent’s Park Open Air Theatre, London. Picture: Pamela Raith

Legally Blonde continues at the Open Air Theatre Regent’s Park,London until 2 July 2022.

Star rating: four stars ★ ★ ★ ★ ✩

Perhaps this feel-good story in which all “monsters” are kicked into the gutter amidst much pink is just what we need on an early summer evening – especially when it’s set in the tree-girt glory of London’s loveliest venue. And the rain held off on press night.

Legally Blonde is the story of a young woman with frothy interests driven to apply to Harvard Law School in pursuit of the man who has just jilted her. Finding talent and brains she didn’t know she had, she excels at Harvard while remaining true to herself. And then there’s a happy ending – on her own terms. So you smile all the way to the Tube.

Music by Laurence O’Keefe and Nell Benjamin (book by Heather Hach) is superbly directed by Katharine Woolley. The 15-piece band (bravo, especially Jane Salmon on trombone – lovely work) plays the wide variety of styles required by this show’s score with real flair. There is, for example, a song in the trial scene which owes so much to G&S that if the pair were alive they’d be suing for plagiarism. The Irish number is nicely done.

We can see the band too, framed upstage by Laura Hopkins’ set which is based on oaty, vertical strip curtains through which characters dive on and off at two levels. And Philip Gladwell’s flamboyant lighting (lots of pink) reflects the message.

Ellen Kane has had a field day choreographing this high octane show. The slickness and energy is terrific, especially in the remarkable skipping number in which Lauren Drew manages to sing at full belt while skipping in high-speed patterns without every missing a note or a jump. You could feel a collective gasp of audience admiration.

Under Lucy Moss’ imaginative direction the talented cast and ensemble (24 in the company) zip about, using the double curved staircase effectively and bouncing off each other both in speech and song.

As the central character, Elle, Courtney Bowman is variously assertive, vulnerable, frustrated and feisty. She fills the stage, singing very loud pop numbers and sweeter lyrical numbers with equal skill. And, not a stereotypical “dolly bird” in appearance, she confers real dignity on this character as she gets to know herself better and works out what she really wants.

Michael Ahomka-Lindsay is strong, charismatic and warm as Emmett. Yes, I’d have proposed to him too.

There’s a fine performance from Nadine Higgin as Paulette, the hairdresser with an amazing poodle. Her song in 3|4 when we first meet her is liltingly lovely.

Because Elle is supported by her sorority back at college in California where she comes from we often see them as what she calls her Greek Chorus. They sing and dance encouragement and advice. It’s spiky stuff.

It’s a show to enjoy and have fun at without, maybe, being swept away or moved as one is by some productions. And it’s a jolly good excuse to spend an evening in Regent’s Park.

Susan Elkin