Legally Blonde Gives Us Delightful Loopholes at Third Wall Productions

By Jason Crawford Samios-Uy

Approx. Running Time: 2 hours and 30 minutes with one intermission

Most of us are taught, at an early age, to not judge a book by it’s cover… I guess now-a-days, it would be don’t judge a site by its homepage? Regardless, what’s on the outside may not tell the entire story of what’s on the inside and in Third Wall Production’s latest offering, Legally Blonde the Musical, with Music & Lyrics by Laurence O’Keefe and Nell Benjamin and Book by Heather Hach, Direction by Henry Cyr, Music Direction by Patty DeLisle, and Choreography by Cecila and Lucy DeBaugh, we are treated to a story of overcoming adversity and redemption all wrapped up with a pink, stylish bow.

For those who may not be in the know… Based on the 2001 film of the same name, starring the perfectly cast Reese Witherspoon, Legally Blonde the Musical follows true California blonde, Elle Woods, who beats the odds and surprises everyone by getting herself a spot at Harvard Law School, for no other reason than to follow the boy who dumped her for being what she was. At Harvard, she surpasses all limited expectations of others and learns she’s more than what people see and think of her.

Scenic Design by Jordan Hollett, Amy Rudai, and Pat Rudai is on point with a unit set in the background at all times and set pieces that are brought on and off to represent various locations. Simple, but effective, Hollett and the Rudais should be commended for their work and efforts. In the same vein, Lighting Design by Jim Shomo is stellar and absolutely fitting for this production. He keeps the already high energy up with his fast moving, varied design and keeps the action engaging. Another great job from Shomo. Anyone who is involved in community or small theatre will most likely tell you that sound is a curse and one of the most difficult aspects of a production to overcome. Unfortunately, if there is a criticism of this production, it is Sound Design by Charles Hirsch. That’s not to say that it is completely Hirsch’s fault as many factors go into how good or bad a sound is, including space, number of people in the venue, volume of the live pit orchestra, etc., etc. I’m glad I know this show well and could follow along, but there are many times, with and without music where sound is a problem, and those who may not be familiar may lose some of the dialogue and story points. That being said, Hirsch does his best and it’s still a strong showing.

Jenifer Hollet’s Costume Design is spot on for this particular production and each character has their own, individual style that fits in with everyone else, our main character stands out, as she should. My only complaint, if it can be called one, is the blonde wig thrown onto the actress playing Elle Woods. This wig, unfortunately, looks like it belongs on a certain HBO show on a woman who deals with dragons, and seemed just a bit out of place on this actress. It worked, but I imagine there may have been better options. Regardless of this one small detail, with great attention to detail and creative styling, Hollet is to be applauded for her efforts and work on this production.

Music Direction by Patty DeLisle and Choreography by Cecilia and Lucy DeBaugh are definite highlights of this production. This is some of the best vocal work and choreography I’ve seen at Third Wall Productions in recent years. DeLisle’s skill is apparent as every group number is in perfect or near perfect harmony and strong voices are brought out in each featured number showing her superb direction. The DeBaugh’s choreography is stellar, high-energy, and upbeat keeping everyone on their toes, literally, at times. They really seem to understand this style of dancing and have created choreography that is well-fitting, fun, and a joy to watch. Major kudos to DeLisle for her Music Direction and the DeBaughs for their creative choreography.

Henry Cyr takes the helm of this production and does an outstanding job. It’s always tough to transfer a popular film to the stage, but Cyr seems to have it all under control. His staging is concise and the pacing is on point, making for an enjoyable telling of this heartfelt story. He knows his way around the stage, has a good grasp on the material, and gives us a great presentation of this popular, modern story.

Moving on to the performance aspect of this production, it’s absolutely worth stating that this entire ensemble is giving 100% effort with high-energy and gusto and are having a blast performing this material. The chemistry within the entire ensemble is apparent and makes the performance all the better. This transfers to the audience and we have just a good a time as they are making for a quite enjoyable evening of theatre.

To name a few, our leading lady, Maggie Mellott as Elle Woods, our bouncy, optimistic, and common sense heroine, is well cast though, at times, she may seem scripted and more subdued than I would like Elle, but she holds her own and gives a solid performance. Vocally, she has the perfect voice for this score and her beautiful performances of featured numbers such as “Positive” and “Legally Blonde” proves she knows this character well. Equally as impressive is Johnny Dunkerly as Emmett Forest, the fellow fish-out-of-water Harvard student who has a big heart and feet planted firmly on the ground. Dunkerly holds his own on stage, giving a strong performance and, vocally, he gives a commendable showing, especially in his featured numbers such as “Chip on My Shoulder” and “Legally Blonde.” Their chemistry is spot on and believable helping their already wonderful performances.

Emily Wesselhoff takes on the physically taxing role of Brooke Wyndham, the high profile client on trial for murder who is a fitness whiz and, let me say… Wesselhoff does not disappoint with her performance in the choreographed jump-rope number, “Whipped Into Shape” and, vocally, she’s a powerhouse giving a strong, confident performance. Also, Christopher Kabara as Professor Callahan, the brilliant, if not sketchy high-priced attorney who doubles as a Harvard professor, seems to have been made for this role. Cabara’s has a strong presence and intensity and makes this role his own. He gives an impressive vocal performance as well, as he shows in his performance of “Blood in the Water.”

Rounding out the featured cast is Lizzy Jackson Fleischmann as Vivienne Kensington, the snobby, uptight current girlfriend of Warner Huntington III and Andy Collins as Warner Huntington III, the well-bred, but douchey guy who thinks he has his future all figured out. Fleischmann embodies this role and presents her as a complete opposite to Elle Woods, as she should and it’s a notable performance. Collins has his role down pat and is nicely cast. He seems to have a good grasp on this character and vocally, he shines, especially in his featured number, the funny, but important “Serious.” Hats off to Fleischmann and Collins for jobs well done.

Honorable mention has to go to a few supporting players such as Mike Zellhofer as Dad/Winthrop/Dewy, Alex Pecas as Kyle, the sexy UPS guy, and Delta Nu Sisters, especially the Greek Chorus of Margot (Katelyn Clay), Serena (Bailey Wolf),  Pilar (Patricia Anderson), Gaelen (Kayla Szczybor), and Kate (Kelsey Albert). Though they play supporting roles, these few ensemble members give strong, confident performances that move the story along beautifully.

One of the supporting players, the aforementioned Katelyn Clay, as Margo, is a highlight of this production as her presence is one of the strongest and she seems to glow in every featured piece of dialogue or vocal bit causing the eye to move to her. Her efforts don’t go unnoticed and she’s certainly one to watch in this production. The standout in this, though, is Amy Haynes Rapnicki as Paulette Buonufonte, the unexpected friend to Elle and down-to-earth, positive stylist. Haynes is a pro who knows her way around the stage and knows this character inside and out. She becomes this character and her natural delivery and authenticity shine through. Vocally, this woman has pipes! Her solid performance of her featured number, “Ireland” is stellar and one you won’t easily forget. You really don’t want to miss her performance in this role.

Final thought… This production is high energy and every single member of the ensemble is giving 100% which always makes for a great showing. They’re dedicated to their roles and are having a blast which, in turn, hypes up the audience to make for a great evening of theatre. The performances are solid, the Set Design is effective and aesthetically pleasing, the pacing is on point, and, so far, this production has the best Music Direction and Choreography I’ve seen at Third Wall Productions with phenomenal vocals and dancing, making this a production you won’t want to miss this season. Get your tickets now!

This is what I thought of Third Wall Productions’ production of Legally Blonde the Musical… What did you think? Please feel free to leave a comment!

Legally Blonde the Musical will play through February 23 at Third Wall ProductionsSt. Thomas’ Episcopal Church, 1108 Providence Road in Towson, MD. For tickets, you can purchase them at the door or online.

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Review: Carrie the Musical is on at Stand Up for Theatre

By Jennifer L. Gusso

Running Time: 2hr 15 minutes with intermission

Carrie the Musical starts with a glimpse at the way that it will end. Sue is covered in blood, under an interrogation light, and bodies are strewn across the stage or hanging in the back corners. Stand Up for Theatre pulls the audience right into the scene of devastation and into caring about Sue and her story. Making the audience care about the characters is what this production of Carrie the Musical, Directed by Ed Higgins with Music Direction by Brandon Seehofer and Choreography by Lenore Florez, does the best. There is an incredible amount of heart on display in this production, with each performer truly giving it their all and embodying this world. Unfortunately, the production does suffer from some technical missteps that can be jarring. However, overall, what the end product lacks in polish, it makes up for in passion.

Because Carrie discovers her telekinetic powers in the course of this story, Carrie the Musical calls for some technical tricks that don’t quite deliver in this production. When Carrie moves a stool, an arm is scene pulling the wire from behind the platform. A falling cross doesn’t really translate as being telekinesis. Although Billy is shown hanging in the beginning scene, that never actually happens during the prom massacre. The cabinet in which Carrie is pushed doesn’t have a back, which really pulls away from the intense scene with her mother. Some other tricks, like the cup on the table, do work well – but, when the technical falters, it does lessen the impact of what are some pivotal moments.

The other technical issue that is the most troubling is the sound balance. Modern scores, like Carrie, were written for an age in which performers use microphones. They were not written to be belted at all times. Sometimes, in a small space and with softer backing tracks, this can still be pulled off. However, between the complexity of the score, the acoustics of the room, and the volume of the backing tracks, the performers in this production should have been using microphones. The end result was often one of two things. In some cases, the soloists were hard to hear over the music. In other cases, pushing too hard to go over the music sounded like screaming or just went flat.

Despite the technical mishaps, this was still an overall compelling evening of theatre due to the strong acting performances of the cast. Every member of the ensemble created a unique and different character and stayed consistently in the moment. Director Ed Higgins did a good job in creating staging that gave life to classroom and crowd scenes by having realistic, but not distracting action, going on across the stage. The reactions of the teenagers in these situations was so spot-on that is seemed spontaneous and genuine.

The story is told by Sue Snell (Sarah Mackin). Mackin is one of the performers that is best able to navigate around the sound issues in order to showcase her beautiful voice. She does an excellent job of bringing Sue’s conflicting emotions to life in both her line delivery and her subtle nonverbal reactions. As her boyfriend Tommy Ross, Anthony Case has a lovely quality to his voice and a genuine likeability that showcases the softer side of Tommy. As her mean-spirited and spoiled best friend, Chris Hargensen, Triana McCorkle oozes with viciousness and plays the perfect mean girl. A truly standout performance comes from Jake Schwartz as Billy Nolan. He really commands attention on the stage and demonstrates a real skill at adding comedic moments. Schwartz brings a level of polished nuance to his performance that is next level.

As Carrie White, Michaela Saul definitely has the hardest vocal challenge. Navigating the sound issues and the score ultimately proves difficult for her in places. That being said, her acting performance is absolutely top notch. Even when she comes out for her curtain call, she is still sobbing and emotionally drained from literally giving every inch of her inner self to Carrie’s intense breakdown. Saul is able to capture both Carrie’s naïve innocence and her deep pain as she immerses herself in the role. Causing much of Carrie’s pain is her mother, Margaret White (Jenifer Hollett). Hollett gives an unnerving performance. She says and does horrible things with an innocent and wide-eyed look on her face. It is a very effective character choice that really ups the intended unease felt in her scenes.

In the midst of all the crazy, the true heart of the show is Lenore Florez as Lynn Gardner. Her performance is absolutely captivating. She knows how to command attention, make the audience fall in love with her, and then push the scene’s attention to another performer. She demonstrates a sophisticated level of technique in both her acting and vocal performance. She is both inspiring and genuine. “Unsuspecting Hearts” is easily the perfect embodiment of the level of real emotional connection that is what worked best in this production.

While Stand Up For…Theatre may have some technical issues to polish and perfect as they move forward, they are definitely not lacking in talented and passionate performers. Carrie the Musical tells a story that, although larger-than-life, is largely relatable. These actors, with their relatable performances, find and bring to life the people in the story – and, ultimately, it is caring about these people that matters most.

This is what I thought of Stand Up for Theatre’s Carrie the Musical… What did you think? Please feel free to leave a comment!

Carrie the Musical will play through November 9 at Chesapeake Arts Center, 194 Hammonds Lane, Brooklyn Park, MD 21225. For tickets, call the box office at 410-636-6597 or you can purchase them online.

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