Legally Blonde (Peterbrook Players)
It's not often that I begin a review by complimenting the video action but, this particular production uses some innovative visual options to complement the set which works really well, although timing is absolutely key something that (I believe based on programme detail) Mat Spencer almost perfected and based on complexity could be forgiven for an occasional blip, supported by The Core Theatre Technical Team and and interaction with a busy Stage Manager, Adam Tullett and his backstage crew.
Continuing with the offstage names, there is some exceptional (truly so) choreography from Suzanne Ballard-Yates, polished direction from Richard Agg and professional musical direction from Chris Davis, this is a really engaging and visually stunning (let's not forget Caroline and Melissa Bickerton's outstanding array of costumes and the seamless transition the actors made from one outfit to another) piece of musical theatre.
Joining the list of performers to make the part of Elle Woods their own is the bubbly, energetic and extremely talented Sophia Bailey, alongside a sublimely confident performance from Mitch Coughlin-Miller as Emmett Forrest and were it not for some flagrant upstaging from Duke Gough as Rufus and Rudi Bates as Bruiser, this would be the stand-out stage presence of the night but, as W.C. Fields once said 'Never work with children or animals '.
Ed Mears is a devastatingly smooth Warner Huntington III, Jen Cole an endearingly comic Paulette Bonafonté, Jonathan Busk a formidably controlling Professor Callahan, Laura Peters a defiantly phlegmatic Vivienne Kensington and Penny Simpkins an unflappably spirited Brooke Wyndham.
Adorning the stage in almost every scene at some point are the Girls of Delta Nu, a bevy of beauties enthusiastically led by Lily Gain (Margot), Abigail Harvey (Serena) and Melissa Bickerton (Pilar), probably the team with the costume changes and the most dance moves to learn.
James Gough milks the comedy from his role as Kyle, the UPS Guy, Audrey Martin is an accurately feministic Enid Hoops and Charlotte Boulton characteristically and loudly broad as real murderess, Chutney Wyndham. If you’re looking for a memorable cameo performance you could do much worse than Anna Gifford as a slightly squiffy mother to Elle.
What we have here is a SOLD OUT Production and I am ‘positive’ you will regret not seeing it, performances only run through to Saturday 6th April 2019 and you never know there might be a return, you’ll feel ‘so much better’ if you’re able to snap one up.
Book Here
Continuing with the offstage names, there is some exceptional (truly so) choreography from Suzanne Ballard-Yates, polished direction from Richard Agg and professional musical direction from Chris Davis, this is a really engaging and visually stunning (let's not forget Caroline and Melissa Bickerton's outstanding array of costumes and the seamless transition the actors made from one outfit to another) piece of musical theatre.
Joining the list of performers to make the part of Elle Woods their own is the bubbly, energetic and extremely talented Sophia Bailey, alongside a sublimely confident performance from Mitch Coughlin-Miller as Emmett Forrest and were it not for some flagrant upstaging from Duke Gough as Rufus and Rudi Bates as Bruiser, this would be the stand-out stage presence of the night but, as W.C. Fields once said 'Never work with children or animals '.
Ed Mears is a devastatingly smooth Warner Huntington III, Jen Cole an endearingly comic Paulette Bonafonté, Jonathan Busk a formidably controlling Professor Callahan, Laura Peters a defiantly phlegmatic Vivienne Kensington and Penny Simpkins an unflappably spirited Brooke Wyndham.
Adorning the stage in almost every scene at some point are the Girls of Delta Nu, a bevy of beauties enthusiastically led by Lily Gain (Margot), Abigail Harvey (Serena) and Melissa Bickerton (Pilar), probably the team with the costume changes and the most dance moves to learn.
James Gough milks the comedy from his role as Kyle, the UPS Guy, Audrey Martin is an accurately feministic Enid Hoops and Charlotte Boulton characteristically and loudly broad as real murderess, Chutney Wyndham. If you’re looking for a memorable cameo performance you could do much worse than Anna Gifford as a slightly squiffy mother to Elle.
What we have here is a SOLD OUT Production and I am ‘positive’ you will regret not seeing it, performances only run through to Saturday 6th April 2019 and you never know there might be a return, you’ll feel ‘so much better’ if you’re able to snap one up.
Book Here
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