Legally Blonde as presented by MIDAS

Society Name: MIDAS

Show Name: Legally Blonde

Adjudicator Date of Attendance: 04/04/2025

Brief Overview of Show and Evaluation of Front of House

MIDAS’s production of Legally Blonde was a lively and engaging evening of student-led musical theatre, presented with energy, colour, and a clear affection for the material. This fast-paced and pop-fuelled musical, based on the cult classic film, is a high-octane challenge for any company, and MIDAS tackled it with a commendable level of commitment and spirit.

The Front of House team set a welcoming tone from the moment patrons entered the venue. Staff were friendly, efficient, and helpful, contributing to an enjoyable pre-show experience. Audience seating was well-managed, and the auditorium buzzed with excitement. The atmosphere created was one of celebration and support, which perfectly complemented the show’s themes of empowerment and self-discovery.

Director – Direction and Production

For a directorial debut, this was a solid and confident attempt by Melissa Flaherty. She approached the story with clarity, ensuring that the narrative was easy to follow even for audience members unfamiliar with the source material. The characters were well-drawn, and while the script naturally centres Elle’s journey, Melissa found meaningful moments for the supporting cast too.

Blocking was sensible and considered, helping to establish visual interest across the wide range of locations in the show. The pace was well maintained, and the flow between scenes was largely effective. That said, there were opportunities for greater consistency in the execution of scene transitions. At times, the changes felt stylistically disconnected, switching between live changes, blue-outs, and full blackouts without an evident rationale. Picking a single approach and integrating it as a repeated visual trope could help reinforce the overall aesthetic and maintain the show’s rhythm.

Nonetheless, the production had heart, clarity, and vibrancy—evidence of a thoughtful director guiding her cast with care and vision.

Musical Director – Direction and Orchestra

Musical Director Michael Young brought strong vocal cohesion to the production. The cast demonstrated excellent diction and dynamic control, which helped elevate the musical numbers and communicated both energy and emotion effectively. Harmonies were tight and consistent, with the ensemble producing a well-balanced choral sound that enriched the score.

However, the balance between the band and cast was problematic throughout the performance. The band, particularly the drummer, was frequently too loud, and this resulted in vocal lines being overpowered, especially during group numbers and quieter solo moments. Sound issues aside, the musical preparation was evidently thorough. With more sensitive control of the orchestra’s volume and some careful attention to cue execution, this element of the show could have been even stronger.

Choreographer – Choreography

Grace Bourke’s choreography was vibrant, stylish, and well suited to the upbeat, youthful nature of the show. The routines were clearly well-rehearsed and brought energy and colour to the stage. Much of the movement flowed naturally from the storytelling, and the choreography supported character development and ensemble unity.

Spacing and formations occasionally lacked precision, particularly in larger group numbers. Some visual patterns felt muddled, which slightly undercut the impact of otherwise well-executed routines. With more attention to detail in how bodies are arranged and how movement patterns are reinforced, these issues could be quickly resolved.

One particular choreographic choice, the dancing couples in the restaurant scene, felt slightly out of place and disconnected from the emotional tone. In that moment, the dance seemed inserted rather than organic. While the overall standard was high, future numbers might benefit from a closer alignment between movement and character motivation.

Leading Principles – Singing and Acting

Elle Woods – Nicole Fitzgerald: Nicole gave a strong leading performance. Her vocal ability was clearly up to the demands of the role, with a bright tone and confident delivery. Occasionally her top notes veered into a screechier quality, which may have been exacerbated by an over-loud microphone. Nonetheless, she embodied Elle with warmth, charisma, and intelligence. Her arc from superficial sorority queen to empowered law student was thoughtfully drawn and emotionally resonant. A commanding and endearing presence.

Emmett Forrest – Ethan Cassley: Ethan was a lovely counterpoint to Elle’s exuberance. Understated and grounded, his portrayal felt sincere and emotionally connected. He brought a sense of stillness and strength that anchored many of his scenes. Vocally, he had a smooth, rich tone and impressive power when required. A gentle, compelling performance that added depth to the production.

Paulette Buonufonte – Maebh O’Mahony: Maebh delivered a charming and funny performance as Paulette. Her comedic timing was sharp, and she found both the brassy exterior and the softer interior of the character with skill. There were moments where her mic crackled or fizzed, making it difficult to determine if her voice was under strain. Nonetheless, she committed fully to the role, and her New Jersey accent remained consistent and effective throughout.

Warner Huntington III – Nathan Canning: Nathan nailed the role of Warner. He exuded entitled arrogance with ease, using physicality and vocal inflection to great effect. His singing was confident and well-pitched, and he moved fluidly through scenes with charm and smugness in equal measure. An enjoyable, well-cast performance.

Brooke Wyndham – Ciara Riedy: Ciara gave a powerhouse performance. “Whipped Into Shape” is one of the most demanding numbers in the show, and she executed it with athleticism and breath control that was genuinely impressive. Her characterisation was bold and energised, making her scenes some of the most memorable in the show.

Professor Callahan – Eoin Griffin: Eoin’s performance grew stronger as the show progressed. His first appearance leaned towards camp rather than the controlled menace usually associated with Callahan, but he settled into the role and gave it more gravity in later scenes. His vocals were smooth and assured. A stronger sense of intimidation and control would elevate future portrayals of this character.

Vivienne Kensington – Aoife McNelis: Aoife gave a beautifully performed Vivienne. She embodied the snobbish superiority of the character while allowing her transformation to emerge organically. Her vocals were clear and commanding. She gave us a “bitchy” Vivienne without ever losing the audience’s ability to connect to her. A strong and memorable performance.

Supporting Roles – Singing and Acting

Serena – Siofra Cantillon Mann, Margot – Shauna Byrne, Pilar – Sarah Connelly: This trio was dynamic and vocally strong. They balanced each other beautifully and brought individuality to their characters without disrupting the cohesion of their scenes. Energetic and characterful.

Enid Hoops – Grace Guilfoyle: A wonderfully committed performance. Grace brought humour and conviction to Enid’s feminist firebrand persona, offering a strong contrast to the other female characters. A clear and distinctive presence.

Aaron Schultz – Matthew O’Rourke: Matthew gave a serviceable portrayal of Aaron. He captured the preppy smugness of the character well. I enjoyed disliking him. 

Kyle B. O’Boyle – Andrew Keegan: Andrew’s performance was a crowd-pleaser. His arrival always garnered a big reaction. With a bit more swagger and comic bravado, this already fun performance could become a real highlight.

Kate – Emma Fry: Emma matched the energy and vocal strength of the main trio with ease. A consistent and impressive supporting performance.

Chorus/Ensemble – Singing, Acting and Choreography

The ensemble was a definite strength of the production. Their vocal unity was impressive, with harmonies that were tight and delivered with precision. Each member created a distinct character, which helped flesh out the world of the show and keep visual interest high throughout.

Particularly strong were the Delta Nus, whose group scenes pulsed with energy and character commitment. The choreography was well-executed and performed with gusto, though occasionally the formations lost their clarity. Overall, this was a confident, characterful, and cohesive ensemble.

Stage Management & Set Design

The central set piece was a clever and versatile choice. It allowed for multiple locations to be suggested with efficiency and minimal disruption to the flow of the piece. Furniture was well-chosen and functional. However, some finishing touches could have elevated the visual world, for example, Elle’s bedroom lacked the over-the-top pink aesthetic that audiences expect.

Stage management was slick, precise, and professional. Scene changes were handled swiftly and effectively. For future shows, closer collaboration with the director could help unify the approach to transitions. If live scene changes are used, stage crew should be costumed to integrate them into the action.

Technical – Lighting and Sound

Lighting design offered some visually appealing stage pictures, and the rig was used effectively to establish mood and location. However, focus issues with the front of house wash resulted in distracting hot spots and shadowy patches. These inconsistencies disrupted the otherwise attractive visual palette.

Sound was unfortunately the weakest technical area. Multiple microphone malfunctions, dropped cues, and imbalanced levels (especially between the band and the vocals) plagued the performance. Off-stage noise bleed and audibility of backstage conversation added to the distractions. A more rigorous tech run, and sound check would be advisable in future to ensure smoother execution.

Visual – Costumes, Hair and Make-Up

Costumes were colourful, well-fitted, and strongly in keeping with the characters. They helped communicate social status, personality, and setting effectively. A special mention must be made of the quick-change attempt for Elle, though it didn’t come off on this occasion, the ambition and preparation were evident.

Hair and make-up were neat and age-appropriate. Elle’s wig occasionally slipped over her face and might have benefited from extra clips or pins, but otherwise, the look was maintained well across the cast.

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

MIDAS’s Legally Blonde was a bright, enthusiastic, and engaging production led by a clearly passionate team. It was a strong achievement, particularly considering the scale of the show and the age and experience level of the cast and creatives.

There is room for technical refinement, especially in sound balancing, lighting focus, and scene change consistency, but the core performance work was vibrant and effective. With more experience and continued focus on detail and cohesion, this company is well-placed to continue producing ambitious, entertaining, and heartfelt theatre.

An impressive debut from a new director, a committed cast, and a thoroughly enjoyable night at the theatre.