Review: La Mirada Theatre & McCoy Rigby Entertainment’s ‘Legally Blonde’ Earns Snaps & Applause

Although La Mirada Theatre for the Performing Arts may be enjoying its highest-grossing season ever, it’s certainly not becoming complacent any time soon. Case in point: La Mirada Theatre and McCoy Rigby Entertainment’s production of Legally Blonde: The Musical can easily hold its own against Broadway or national tours as it is boundlessly fun with a heap of college spirit, wackiness, compassion, and brains. Running through Sunday, May 18th, this engaging musical, which boasts several dialogue and lyrical updates for Gen Z, delights with strong performances, gleaming visuals, and an infectious spirit that neatly ties together — with a stylishly pink bow — comic moments with galvanizing dance numbers and a touching sisterhood.

Based on Amanda Brown’s novel and the iconic 2001 film, Legally Blonde features an incisive book by Heather Hach and a sprightly score by Laurence O’Keefe and Nell Benjamin. Director Cynthia Ferrer captures the breezy vibrancy of the Reese Witherspoon-starring movie, drawing forth performances that feel appropriately snappy and intentional, pushing from one striking scene to the next.

The story centers on Elle Woods, president of her sorority Delta Nu at UCLA, where she graduates with a bachelor’s degree in fashion merchandising. Her life, nevertheless, is upended when her pompous boyfriend, Warner, dumps her for a “serious” path at Harvard Law School. Undeterred, Elle aces her LSATs, unexpectedly gains admission to Harvard Law (initially impelled by “love”), navigates academic hurdles, biases against her blondish appearance, and forms new friendships. Her journey of self-discovery unfolds in such a way that we realize she is not an outsider but rather someone who doubtlessly belongs, particularly when she is assigned to a case defending fitness guru Brooke Wyndham who is alleged to have murdered her much-older husband.

As the iconic Elle Woods, Kathryn Brunner dazzles, compellingly tracing her character’s arc from lovelorn sorority sister to legal star with a fresh interpretation that doesn’t feel tired. Not to mention, Brunner’s Elle exudes magnetic amiability and fierce resolve, her clear vocals lighting up songs like “Omigod You Guys” and yet capable of driving a more sincere ballad such as Act II’s impassioned and melancholic “Legally Blonde.” Michael Thomas Grant, once a staple of the sadly defunct Rockwell Table & Stage, excels as Emmett Forrest, Callahan’s modest and hard-working teacher assistant and Elle’s supportive ally, bringing genuine warmth to the role. His rich, underrated voice enhances “Chip on My Shoulder” and the sartorially infused “Take It Like a Man” which underscores his burgeoning onstage bond with Brunner. Nicholas McDonough’s Warner Huntington III, who breaks up with Elle when she instead expects a proposal, is charmingly shallow, his sleek exterior hiding selfish motives, while Anna Mintzer’s Peace Corps-aspiring Vivienne Kensington evolves from threatened rival to someone much more pleasant, her fantastic vocals in “Legally Blonde Remix” a highlight.

Anthea Neri-Best captivates as Paulette, the outgoing hairstylist at The Hair Affair salon whose humor and great affinity for all things Irish (including Riverdancing) are on display in “Ireland.” (And despite a brief opening-night miscue, which she redeems in record time, Neri-Best evinces why she was cast in the role: there are few who can blend such powerful singing with unassailable likability.) Edward Staudenmayer’s Professor Callahan is imposingly stern regarding his expectations for which lucky four “sharks” would qualify as his interns, his commanding and charismatic delivery in “Blood in the Water” antagonistically contrasting the show’s brighter tones. The six-pack-sporting Jane Papageorge awes as Brooke, the proprietor of an exercise empire whose tireless “Whipped Into Shape” blends incredible jump-roping prowess with belting. (Additionally, prepare to be bowled over by her “pause” in the most uncomfortable upside-down, core-challenging position.)

The Delta Nu, or Greek Chorus, trio — Grace Simmons (Margot), Bella Hicks (Serena), and Aurelia Michael (Pilar) — demonstrate nonstop vivacity whether they’re a figment of Elle’s imagination, or not, with their immaculate harmonies and peppy constancy taking several numbers to the next level. Dahlya Glick’s Enid adds quirky flair as the fight-for-her-rights feminist, while Rodrigo Varandas and Antony Sanchez bring down the house as Nikos (is he “gay or European?”) and Carlos, respectively, insofar as the audience can’t help but cackle and clap during one of the climactic courtroom scenes in Act II.

Many of the ensemble members, who inhabit multiple roles, also stand out for going above and beyond in leaving an indelible impression. These include Grant Hodges who is hysterical as Winthrop, one of Harvard Law School’s admissions officers and especially Elle’s golf-loving and laissez-faire Malibu dad; Rianny Vasquez who balances her compassionate Kate, Elle’s LSAT helper, with the comically frizzy-permed Chutney who plays a vital part in the musical’s outcome; Nathan Madden who convincingly disappears into Dewey, Paulette’s trailer-park ex, and the fan-favorite UPS delivery guy Kyle who uproariously catwalks — chin up and butt out — to and from Paulette’s store with package in tow.

Rounding out the cast are the talented Rochelle Scudder (Elle’s Mom/Courtney), Krystle Rose Simmons (Clothing Store Manager/Whitney/Judge), Jabari (Kiki), Donovan Mendelovitz (Aaron), Cristyn Dang (Stenographer), Tayler Mettra (D.A. Joyce Riley/Salon Owner), Callula Sawyer, Bailey Renee Miller, and Davon Rashawn. They are all joined by Little Ricky (Bruiser), an accomplished chihuahua who adorably obeys on command.

The creative team delivers a production of substantive quality. Director Ferrer’s vision manifests satisfyingly thanks to Anne E. McMills’s pastel-expressed lighting, Jonathan Infante’s vivid projections, and Front Row Theatrical Rental’s scenery, inclusive of the Barbie-esque sorority residence juxtaposed against the earnestness of Harvard’s academic halls. Dana Solimando’s award-winning choreography sparkles with lively sequences, from the rousing opener, to the drumline-assisted and personal-essay-in-action “What You Want,” the buoyant Act I-closer “So Much Better,” the sassy “Bend and Snap,” and more.

Ryan O’Connell’s musical direction ensures the score comes right off the page, with the orchestra providing crisp, irresistible accompaniment. Adam Ramirez’s costumes, paired with Kaitlin Yagen’s hair and wig designs, create a fashionable palette of varied looks, while Josh Bessom’s sound design builds an immersive experience where the actors’ dynamic voices mix naturally with the orchestra’s invigorating instrumentation.

La Mirada Theatre and McCoy Rigby Entertainment’s Legally Blonde is a colorful celebration of resilience and self-worth, moving beyond its kittenish allure to offer genuine inspiration. With Ferrer’s thoughtful direction, Solimando’s exuberant choreography, and a cast brimming with versatile gifts, this production captures Elle Woods’s odyssey from a girl dismissed to a woman who is seriously undeniable. Through the length of the musical, the audience will enjoy and applaud the first-rate entertainment to go along with a worthwhile message on perseverance.

Cover image caption: Left to right are Michael Thomas Grant and Kathryn Brunner in the La Mirada Theatre for the Performing Arts and McCoy Rigby Entertainment production of Legally Blonde: The Musical at the La Mirada Theatre for the Performing Arts in La Mirada, CA. Photo credit: Jason Niedle/TETHOS

La Mirada Theatre and McCoy Rigby Entertainment’s production of Legally Blonde runs through Sunday, May 18th. For more information and to purchase tickets, visit lamiradatheatre.com.