Book by Heather Hach
Music and Lyrics by Laurence O’Keefe and Nell Benjamin
Directed by Nikolai Foster
Review by Dominic Corr
Bursting onto the Edinburgh Playhouse in a tidal wave of neon pink and infectious snap of energy, this latest touring revival of Legally Blonde: The Musical is a glittering showcase of undeniable star power and fierce female solidarity. Rather than coasting on the nostalgic fluff of a Malibu sorority queen chasing her ex-boyfriend to Harvard, Nikolai Foster’s production rockets forward on the backs of a sensational cast, anchored by Love Island and 9 to 5’s Amber Davies’ wide appeal and talents. It is a delightfully high-octane celebration of women supporting women, proving from the opening number that unapologetic glamour and formidable intellect are a winning combination.
Navigating a courtroom decked out by the late, great Dolly Parton, the deliberately minimal (yes, minimal) set dressings by Colin Richmond rely a fraction too heavily on simplistic space and miniature models, but well-crafted models at that, rather than creating a fully immersive collegiate world. The production finds its true architectural strength in Leah Hill’s outstandingly astute choreography for a large-scale commercial musical. The stage practically vibrates during these complex, rigorous dance sequences, brilliantly illuminated by Ben Cracknell’s sharp lighting design.
It is through this physical language that the theme of sisterhood shines most brightly, led by an omnipresent Greek Chorus of sorority sisters who act as a continuous, joyous manifestation of the protagonist’s intuition. Performed by Rosanna Harris, Remi Ferdinand, and driven by this energetic trio is Hannah Lowther’s Margot, whose crackling comedic timing and faultless professionalism ensure the group elevates the central narrative without ever pulling focus; she may be a name known to millions via social media, but the name is quickly becoming one of the UK theatre’s most recognisable.
Stepping into the iconic stilettos of our heroine, Davies delivers a technically sound, stamina-enduring performance. She handles the relentless demands of Laurence O’Keefe and Nell Benjamin’s pop-infused score with West End polish. Yet, amid the powerhouse belting, some of the softer, quirkier comedic nuances of the character occasionally slip, leaving a leading lady who is immensely impressive but intermittently lacks the vulnerable, underdog charm required to fully hook the audience’s empathy. Fortunately, this slight detachment is beautifully showcased in the show’s more emotional crescendos; Davies manages to nail the devastation of Callahan’s assault, counterbalanced by George Crawford’s Emmett, who works well with Davies to hit the larger notes. The pair radiate an easy warmth and genuine charm; Crawford grounds their shared scenes with a tender, deeply authentic chemistry that anchors the glittering spectacle.
The production’s most potent dose of unshakeable support is emphatically delivered by Karen Mavundukure as Paulette. Providing reassurance and riotous quirkiness in equal measure, her rendition of “Ireland” ends in a show-stopping triumph that rightfully brings the house down. This theme of female empowerment extends wonderfully to Annabelle Terry’s sharply layered Vivienne, tracing a satisfyingly complex arc from icy rival to fiercely supportive ally, crowned by her soaring vocal control in the final remix. Conversely, Adam Cooper offers a suave, commanding sophistication as the predatory Professor Callahan, although he misses the necessary vocal menace during “Blood in the Water“. But we know what we’re all here for. Sprout and Rocco, portraying the beloved canine companions Bruiser and Rufus, effortlessly secure the loudest cheers of the evening. Deservedly so, going a bit above the usual canine expectations of waiting for a treat, with a few flips and leg climbs.
Admittedly, a few modern lyrical updates have gently sanded down the script’s original satirical bite, but this barely leaves a scratch on the production’s glossy, high-voltage veneer. What remains is a fabulously joyous, defiant testament to female solidarity that flatly refuses to be underestimated. This is a staging that revels in its own glittering absurdity while delivering a spectacular masterclass in musical stamina and sheer, unapologetic fun. You will leave the Edinburgh Playhouse riding a wave of serotonin, armed with the undeniable urge to fight any objections in a pair of hot pink stilettos. For those seeking a ferociously entertaining theatrical escape, the jury is officially no longer out.
Fabulously Joyous
Legally Blonde runs at The Edinburgh Playhouse until 3rd October
Running time: Two hours and twenty minutes with one interval
Review by Dominic Corr (contact@corrblimey.uk)
Editor of Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected outlets such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
