Legally Blonde as presented by Kilkenny MS

Kilkenny Musical Society 

Legally Blonde – The Musical 

Wednesday 9th April 2025 

On the surface, ‘Legally Blonde – The Musical’ is a show full of all-American frivolity, with an unhealthy focus on superficiality and the importance of social status. But when you dig a little deeper, there is much more to digest and in many ways it is actually a show about some more pertinent issues, especially for young women. Issues like breaking stereotypes, the objectification of women, believing in yourself and the importance of resilience resonate throughout the show. Taking on these important themes, Kilkenny Musical Society delivered a solid production with many high points. 

The Watergate Theatre has a very small foyer space which can fill up quite quickly. House management was very on top of this, ensuring that things were kept moving and didn't get too crowded. Front of house was opened quite early to allow the capacity audience to enter the auditorium and to alleviate pressure in the foyer. I was delighted with the exceptionally warm welcome and the atmosphere was very positive throughout the building. 

Director Simon Manahan was at the helm for this production. Mr. Manahan had a good eye for casting and had assembled a very talented principal lineup and ensemble. In general, I felt that comedy needed to be more pointed and a lot pacier. Mr. Manahan had a great sense of flow and transitions between scenes were very well handled as he utilised cast and crew very cleverly to ensure that there were no unnecessary gaps between scenes. In general, I thought that some cast needed more guidance on characterisation and comic delivery. Callahan kissing Elle is such an important moment in the show and I felt that much more build up and layers of subtext throughout the show were needed to help it really land. 

David Hayes was the musical director, ably assisted by Jimmy Brockie. The nine-piece orchestra brought all of the vibrancy, flair and energy required, as well as displaying exceptional musicianship. Tempi were very solid throughout and attention to musical detail in the dynamics of the score was consistently in evidence. Principal vocals were generally very strong. There was great choral work from a strong ensemble, with the Greek chorus being particularly impressive. ‘Chip on My Shoulder’ was a highlight in this regard. ‘So Much Better’ was a perfect blend of principal and ensemble vocals, attention to narrative and high energy, making it one of the standout numbers of the show for me and a fitting end to the first act as we were left wanting more. 

There was very good work on choreography from Róisín Currid, who devised some highly energetic, dynamic routines which, importantly, always had the narrative at their core. The opening number, ‘Omigod You Guys’ was typical of such energy and this very well-rehearsed routine made up for the fact that many of the vocals were difficult to hear. 

‘So Much Better,’ was technically impressive, demonstrating superb precision from cast. ‘Whipped Into Shape’ was a wonderful routine, brilliantly performed by Ms. Currid (who had to step into the role of Brooke at a late stage in the rehearsal process) and the ensemble of skilled skippers. ‘Bend and Snap’ was fun, tight, and impressively synchronised and we even got a Riverdance moment from Paulette and Kyle which was perfectly in keeping with the show’s comic tone. Great work from Ms. Currid overall. 

The very talented Jenna Dunphy took on the leading role of Elle Woods. Ms. Dunphy was a strong actress with good presence and very clear diction. She had all the required skills and delivered a very good portrayal. Some more pointed direction and guidance with comic delivery would have helped her to really fine tune and elevate her performance to another level. Her vocals were exceptionally good. ‘Take it Like a Man’ was wonderful but she was at her very best in the title number, ‘Legally Blonde,’ which was beautifully heartfelt as she considered packing it all in and returning home. For me, this was a standout, ‘pin drop moment,’ exceptionally well delivered. 

The experienced Jordan Bass played Emmett, Elle's guide, and mentor. Mr. Bass did very well, impressing with his strong vocals and natural stage presence. His acting was very solid, ensuring that we were all on Team Emmett as he and Elle fell for one another. I felt that comic delivery could have been pushed a little more to get even more out of the role. Mr. Bass’s standout vocal in ‘Chip On My Shoulder’ was superb and he was equally impressive in ‘Take It Like a Man.’ Overall, a very good job from Mr. Bass. 

Ivan Kiely had a blissful lack of self-awareness as Warner, Elle's self-absorbed ex-boyfriend. He had a light but pleasant vocal in ‘Serious’ with Ms. Dunphy. At times, I felt that more of a comic touch was needed and that Mr. Kiely needed more edge to really capture his character's overly privileged, chauvinistic side. 

Rachel Leydon was impressive as Margot, the Delta Nu sorority sister. Ms. Leydon had great energy and expression and led from the front with her wonderful reactions throughout.

Laoise O'Connell, as Serena, was a standout performer and a very clever actress, always in tune with the narrative. Her acting and reacting were consistently excellent. For me, this was one of the performances of the show and her natural understanding of the required comic tone and delivery was superb. Ms. O'Connell was also an excellent dancer and shone in all of the ensemble numbers.

Lisa O'Rourke, as Pilar, made up the trio of Elle's Delta Nu girls. She had superb presence and stood out in ensemble numbers, once again leading by example. A strong mover, Ms. O'Rourke brought great energy and focus to the role. Together, this very strong trio brought much drive and energy to the show. 

Paul Hennessy had very good presence as the ruthless Professor Callahan. His vocals were very strong throughout, with ‘Blood in the Water’ being very impressive vocally. I felt that there needed to be more build up to his inappropriate intentions with Elle and that exploration of subtext might have added weight to their ‘moment.’ Mr. Hennessy arguably had one of the funniest lines in the show “Oh you lesbians think you're so tough!” which he duly delivered, bringing the house down. 

Nicola Brennan was a quirky Paulette, the unlucky in love hairdresser who befriends Elle. Her hilarious delivery, asking Elle if Vivienne had an ‘extra body part,’ made me laugh out loud. Ms. Brennan had a powerful voice with a lovely tone, which took me by surprise in ‘Ireland.’ Her comic understanding in this number was exceptionally good and what a great Irish dancer she was too. Her infatuation with Kyle was very nicely played, getting every last ounce of humour out of every opportunity but she balanced that so well with her sincerity in her support for Elle.

Leah Comerford was a wonderfully condescending Vivienne, Warner's overly privileged girlfriend. She played the devious side of Vivienne so well and yet she earned redemption in her beautifully played scene with Elle towards the end of the show. This could have jarred but, thanks to Ms. Comerford's skill as a performer, her character arc was smooth and believable. 

Sarah Brennan was another standout performer as ardent feminist, Enid Hoopes. This was an excellent performance and it was clear that Ms. Brennan really understood the show’s comedic tone. Her expressions and physicality were a joy as she immersed herself in the role, whether the direct focus of our attention or when in a more passive role. 

Róisín Currid, choreographer, was a late addition to the cast in the role of Brooke and what a great job she did too, commanding the stage in the excellent number ‘Whipped Into Shape.’ And it was clear that Ms. Currid had whipped her cast into shape for this particular number. So how fitting it was that she got to lead it. An excellent job. 

Michael Bergin impressed as both Kyle and Pforzheimer. As Pforzheimer, there was a tendency to overplay things a bit, and his characterisation might have been more believable had it been toned down a little. As Kyle, Paulette's dream hunk intent on delivering his package, he brought the house down with his shoulder rolling walk and hilarious expressions. Mr. Bergin was a dead ringer for a certain Mr. Flatley, as he lashed out a few haon, dó, trís in style. 

There was a wonderful supporting cast of cameo characters, with everyone giving 100% to their roles. In this regard, standout performances came from the canine duo of Sebastian and Rio who played Bruiser and Rufus. 

The ensemble was focused and committed throughout. Elle's sorority sisters and Greek chorus girls were excellent as her inner voice. They were particularly strong in ‘So Much Better.’ There was great work from the ensemble in ‘Take it Like a Man,’ which featured a very impressive choral sound and the finale was an excellent combination of sharp choreography and a huge ensemble sound as we went back to ‘Omigod You Guys.’ 

In general, Bill Molloy did well as stage manager. There was clever use of cast, setting furniture and other pieces. Masking was a little bit of an issue at times. During ‘Chip on My Shoulder,’ a bed was visible in the wings ready to come on for the dorm scene. The scene change from the prison to the department store was problematic and there was almost an accident with the EXIT fly piece nearly hitting a cast member as it was flown in. This change, I'm sure, was tightened up as the week progressed. 

The set was visually appealing and beautifully finished, with pink being the order of the day. The impressive Delta Nu pillars looked well, as did the fabulous Harvard fly piece, complete with coat of arms, when it flew in. The raised walkway, upstage of the pillars, allowed for some nice staging opportunities, most notably at the end of Act One as the hoodies spelled out Elle’s name. The prison bars were very effective and the bookshelves, which reversed to create the department store displays, were very clever. The EXIT fly piece, which was used for the department store, worked very well also. 

Lighting was generally strong throughout, with good use of colour and appropriately timed transitions adding to the overall aesthetic and fluidity of the show. There was excellent lighting in ‘What You Want’ and an appropriately green cyclorama for ‘Ireland.’ Isolating Paulette downstage centre going into the change for the Harvard Law party, was a clever touch. Emmett and Elle were unfortunately left in darkness just before the change into the dorm scene but, again, I'm sure that this cue was addressed as the week went on. 

The sound department was still finding its feet on the night that I attended. This may have been due to limited tech time in the run up to opening night and I am sure that much tweaking was done as the week went on. Orchestra levels were too high at times.

‘Omigod You Guys’ was quite problematic at the top of the show, with the orchestra drowning out vocalists. Throughout the show, it felt like additional tech time was needed, with missed cues, microphones left on backstage and what felt like a lack of familiarity with the show in general. All of that said, when things were good, they were very good. EQ levels were always appropriate and dialogue was clear and well supported. Underscored dialogue was, in general, well balanced with the orchestra. 

Props were generally well looked after. There were wonderful props used as dressing in Paulette's salon. Likewise, there was excellent dressing in Elle's dorm, although the bed itself looked quite scrappily dressed, which is not what we would expect of Elle. The department store shelves were very well dressed too. There were some inconsistencies though. Elle's girls specifically referenced ‘Town and Country’ magazine, but they had a different magazine. Elle had no phone in the courtroom scene for her phone call, nor did she have a ring for her proposal scene. Jelly in the champagne glasses for the toast after the courthouse scene looked very well until cast ‘drank’ from them and, of course, that jelly was going nowhere. 

There was excellent attention to detail in the costume plot. Elle's fab costumes from her bunny rabbit to her myriad pink pieces and her court attire were all excellent. The obligatory hoodies spelling out ‘Elle Woods’ at the end of Act 1 worked really well. The blue graduation robes and the mortar boards with their pink tassels looked impressive and Enid's rainbow t-shirt was a delight. The sharp suits for the courthouse scene and the wonderful whites for the Greek chorus, all looked very impressive, as did the orange prison uniforms. An excellent job all round. 

Hair and makeup were very well looked after with nothing appearing out of place. Elle’s obligatory blonde locks were perfectly suited to the role. 

Overall, this was an entertaining, fun, and visually appealing production, with a very talented cast. What stood out, above all else, was Kilkenny Musical Society’s great sense of community and teamwork, from front of house, to backstage, to cast. Omigod, it was a privilege to see! 

Pat McElwain 

Gilbert Adjudicator 2024/2025