Legally Blonde as presented by Bray Musical Society

Society Name: Bray Musical Society

Show Name: Legally Blonde

Adjudicator Date of Attendance: 10/04/2025

Brief Overview of Show and Evaluation of Front of House

Bray Musical Society’s production of Legally Blonde was a commendable community effort with visible dedication from its cast and crew. Taking on this effervescent, high-energy musical is a bold choice for any amateur group, with its demanding blend of rapid-fire comedy, detailed character work, energetic choreography, and near-constant musical underscoring. While this particular performance had a number of challenges that impacted its overall polish and energy, there were also moments of promise and enthusiasm that hinted at the potential within this company.

Front of House was welcoming and professional. The team greeted audience members warmly. The atmosphere in the theatre was upbeat and expectant, and the audience appeared ready to support their local performers wholeheartedly. The overall impression was one of a proud community event, with clear goodwill from both sides of the footlights.

Director – Direction and Production

Emma Thornton’s direction had a firm grasp of the show’s structure and basic staging requirements, but the production would have benefitted from a stronger stylistic stamp and a greater sense of theatricality. Legally Blonde is a show that thrives on energy, sharp comedy, and heightened characterisation, which didn’t quite come to full fruition here. The blocking was functional, but it lacked the punch and precision that the material demands.

Moments that should have sparkled with humour or emotional clarity, such as the bedroom scene between Elle and Emmett, often felt underdeveloped. Small details, like  eyelines, and onstage focus, were inconsistent. In a raked auditorium, it is especially important that performers lift their energy and gaze above the floor to maintain connection with the audience.

That said, the overall shape of the story was clear, and each scene flowed reasonably well into the next. The directorial vision would be strengthened in future with more attention to physical storytelling, character arcs, and visual dynamics.

Musical Director – Direction and Orchestra

Naoimh Penston led a solid-sounding band with good tempo management throughout, and the instrumental underscoring was consistent and effective. The orchestra provided a strong foundation for the show, and the band’s presence helped to carry moments where the vocals faltered.

There were a few moments where musical precision and intonation let the production down. Cue pickups were occasionally shaky, and there were some notable tuning issues in ensemble numbers, particularly among the alto section.

The band did a commendable job overall. A closer collaboration between Musical Director and Sound would have helped ensure the vocals weren’t overwhelmed in certain numbers. More vocal sectional work, particularly on harmonies and blend, would strengthen the society's musical impact in future productions.

Choreographer – Choreography

Yvonne Prendergast’s choreography was spirited and appropriately tailored to the strengths of the cast. The execution lacked the crispness and uniformity necessary to really dazzle. Musical numbers like “Omigod You Guys” and “Whipped Into Shape” demand high energy and precise synchronisation, the ensemble sometimes appeared uncertain or uneven in their delivery.

Spacing was a particular challenge. With additional time focused on spatial awareness, clean transitions, and group movement dynamics, these issues could certainly be remedied. There was evident enthusiasm in the cast, and with more polish and confidence, this energy could be channelled into tighter, more compelling choreographic storytelling.

Leading Principles – Singing and Acting

Elle Woods – Emily Farrell: Emily offered a warm and thoughtful portrayal of Elle, veering away from the traditional hyperactive “sorority queen” and instead delivering a more grounded and emotionally accessible interpretation. Her vocal performance was strong, with a pleasant tone and controlled delivery. She was clearly at ease onstage and brought an easy grace to her movement. While her arc was believable, there was room to explore the emotional highs and lows further

Emmett Forrest – Dylan Anderson: Dylan’s Emmett was sincere and likeable, with a lovely, understated presence. His vocal performance was clean and confident, and his overall characterisation was gentle and unforced. Emmett’s visual presence was slightly compromised by hair obscuring his face, which occasionally limited the audience’s ability to connect with him emotionally. Small adjustments to styling could help ensure that facial expressions can be seen more clearly, especially during key emotional scenes.

Warner Huntington III – Stephen Carvill: Stephen had a pleasant voice and delivered Warner’s songs clearly, but sometimes the characterisation felt a little too restrained. Warner is written as an entitled, self-serving antagonist, and the performance would benefit from a sharper edge and greater arrogance. With a bit more boldness and swagger, Stephen could develop a more convincing and detestable Warner, one the audience would love to hate.

Vivienne Kensington – Leora DeFlumere: Leora gave one of the most compelling performances of the evening. Her Vivienne had a well-defined arc, transitioning from aloof and superior to supportive and strong. Her facial expressions communicated much, although, unfortunately, her hair often obscured her face. With a slight adjustment to styling, this thoughtful and layered performance would have been even more impactful.

Paulette Buonufonte – Lyndsay Tracey: A clear audience favourite, Lyndsay delivered a comic and endearing Paulette. Her physicality, accent, and timing were spot-on, and she brought genuine heart to the role. Her “Bend and Snap” moment was a highlight of the evening, delivered with full commitment and excellent comic instinct.

Brooke Wyndham – Sophie Quinn: Sophie brought great physical energy to the stage, and her vocals remained impressively stable despite the demands of “Whipped Into Shape.” Midway through the number, a slight lapse in focus revealed some frustration, but she recovered well. With a bit more confidence and commitment to character, even when things go awry, Sophie’s performance would continue to grow in strength.

Supporting Roles – Singing and Acting

Professor Callahan / Elle’s Dad – James Scott: James showed great versatility, embodying two very different characters with distinct energies. As Callahan, his switch to smarminess in the kiss scene was sudden but effective, while his fatherly presence as Elle’s dad added a welcome layer of warmth and support.

Kyle / Dewey – Ian Foster: Ian was a crowd-pleaser as the flirtatious UPS man, delivering his entrance with cheeky charm and a confident swagger. His contrasting role as Dewey was well-played, though a deeper dive into the character’s unpleasantness could have heightened the contrast and added dimension.

Serena – Charlotte Fortune, Margot – Mya Davey, Pilar – Kayleigh Horan: This trio brought fun and personality to the Delta Nu chorus. Charlotte sparkled with bubbly energy, Mya’s Margot channeled classic “Clueless” energy, and Kayleigh brought a grounded coolness to Pilar. Together, they offered vibrant harmonies and strong ensemble presence.

Enid Hoops – Michelle Murray: Michelle brought solid commitment and strong character work to Enid; a role that often risks being overlooked. While the script limits Enid’s development, Michelle’s performance gave the character authenticity and drive.

Aaron Schultz / Carlos - Conor Martin, Kate - Lorraine Barry, Leilani - Holly O’Rourke, Gaelan / Grandmaster Chad / Nikos - Raven Gabriel: Each performer brought commitment to their respective roles. Raven’s dance work was particularly noticeable and helped energise the group scenes. These smaller parts were played with care and supported the larger story effectively.

Chorus/Ensemble – Singing, Acting and Choreography

The ensemble had moments of promise but somewhat struggled with cohesion and confidence. Harmonies were light, and the alto line in particular lacked security. Vocally, a few members stood out, but the group as a whole did not blend effectively. Acting was sincere, though sometimes over-exaggerated; workshops focusing on nuanced ensemble work would be beneficial.

Choreographically, the group seemed under-rehearsed in sections, with timing discrepancies and uncertain spatial awareness. More attention to unison, levels, and group awareness would elevate future performances. Some performers projected excellent energy and presence; it would be lovely to see this consistently across the ensemble.

Stage Management & Set Design

The set was visually pleasing, with well-constructed pieces that served their purpose effectively. The decision to have the cast complete scene changes helped maintain the flow and avoided technical lulls. Elle’s bedroom, while functional, lacked the personal detail and flair that could have deepened the storytelling.

Stage management was efficient and well-coordinated. Scene transitions were smooth, and props were placed logically. The team behind the scenes deserve recognition for maintaining a steady rhythm throughout the performance.

Technical – Lighting and Sound

Lighting design showed creativity, especially in moments like the window specials during the opening number. Cue timing and colour consistency needed refining. Several scenes were unevenly lit, with characters moving between warm and cool lighting in the same scene. Face lighting was underpowered overall, making it difficult to see expressions clearly.

Sound balance was reasonable. The mix between vocals and orchestra was handled competently, and cues were hit cleanly. Improved communication between MD and Sound could further elevate the experience, especially during larger ensemble numbers.

Visual – Costumes, Hair and Make Up

Costumes were serviceable but lacked the distinctive contrast between character groups. The Delta Nus and Harvard students didn’t visually separate enough in tone or style. Some of Elle’s costumes missed the mark stylistically and bordered on unflattering, which undercut her character’s fashion-forward persona. The costuming in Paulette’s scenes stood out positively with flair and character-appropriate choices.

Hair design proved problematic, untamed styling meant many actors’ faces were obscured. In theatre, especially in emotionally expressive roles, visibility is key. Future productions would benefit from more structured styling. Makeup had some nice touches and helped bring characters to life, though a consistent design aesthetic would have helped unify the overall look.

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

This production of Legally Blonde had many building blocks in place, a committed cast, a well-structured band, and some standout performances, but didn’t reach its full potential. The foundations were there, but refinement was needed across the board: more precision in music and choreography, stronger directorial choices, and clearer visual storytelling.

With continued focus on group cohesion, staging detail, and technical polish, Bray Musical Society has the potential to grow into a confident and vibrant ensemble. A show like Legally Blonde demands boldness, clarity, and energy—and with time, support, and further development, the society will no doubt rise to meet that challenge.