An incandescent Kathryn Brunner makes it crystal-clear what musical theater stars are made of as the indomitable Elle Woods in La Mirada Theatre and McCoy Rigby Entertainment’s big-stage big-talent revival of the 2007 Broadway smash Legally Blonde, about as perfect a screen-to-stage adaptation as there’s been in the past twenty years.

Tony-nominated book writer Heather Hach is smart enough not to fool with success, sticking closely to Karen McCullah Lutz and Kirsten Smith’s 2001 film adaptation of Amanda Brown’s novel, which has jilted UCLA Fashion Merchandising grad Elle acing her LSATs, winning over the Harvard University Admissions board, and entering Harvard Law School in a bid to win back the heart of ex-boyfriend and future political hopeful Warner Huntington III (Nicholas McDonough), who’s dumped her in favor of Vivienne Kensington (Anna Mintzer), someone “less of a Marilyn and more of a Jackie.”

Naturally, Elle finds herself in for a lot more than she bargained for both in and around hallowed Ivy League halls peopled by (among others) her upper-class law student mentor Emmett Forrest (Michael Thomas Grant), her Machiavellian Professor Callahan (Edward Staudenmayer), her hairstylist/new best buddy Paulette (Anthea Neri-Best), and fitness guru Brooke Wyndham (Jane Papageorge), on trial for murdering her much older multimillionaire spouse.

Also along for the ride are Elle’s three best sorority sisters Serena (Bella Hicks), Margot (Grace Simmons), and Pilar (Aurelia Michael), left behind in SoCal but still very much present as Elle’s “Greek Chorus.”

Suffice it to say that the road to a Harvard Law Degree and (hopefully) Warner’s hand in marriage is a rocky one, filled with unexpected twists and turns, and this time round with song and dance as well.

Legally Blonde The Musical adds to the movie’s proven crowd-pleasing plot one of the brightest and best Broadway scores so far this century (Tony-nominated music and lyrics by Laurence O’Keefe and Nell Benjamin), one rousing dance number after another, and performances that honor the movie originals without carbon-copying them.

 No wonder then that if you’re any kind of musical theater fan, you’ve probably seen at least one production of Legally Blonde, especially now that it’s become a school and community theater favorite.

Still, I’ll wager you haven’t seen a Legally Blonde as pitch-perfectly cast or as sensationally performed as this one, director Cynthia Ferrer staging the whole shebang with imagination and flair while eliciting one sparkling performance after another beginning with out-of-town visitor Brunner in her third outing as Elle, a role she was clearly born to play.

Not only does Brunner captivate the audience from the moment she bursts onto the stage, her Elle is as beautiful and blonde as she is Harvard-level smart, and the East Coast-based triple threat sings with power pipes and dances up a storm like the star she is.

It’s clear from the get-go that director Ferrer has encouraged her cast to make each and every now iconic role their own, from Neri-Best’s voluptuous firecracker of a Paulette to Grant’s scruffily appealing, utterly likable Emmett to Staudenmayer’s snaky, sneaky Professor Callaghan to McDonough’s handsome, heartless Warner to Mintzer’s icy but not unmeltable Vivienne to Papageorge’s personal trainer-level fit-and-fiery Brooke, to thrilling threesome Hicks, Michael, and Simmons as the best gal pals any sorority sister could wish for.

Dahlya Glick is a tomboy treat as Enid, Nathan Madden makes it a no-brainer why Paulette wants to bend and snap for UPS hunk Kyle, and Rianny Vasquez is a snooty hoot as the ill-advisedly permed Chutney.

Associate choreographer Rodrigo Varandas raps with the best of them as Grandmaster Chad before he and Antony Sanchez Carlos flame with utter fabulousness as Nikos and Carlos, and chihuahuas don’t come any cuter or more expertly trained than Little Ricky as Bruiser Woods.

 The equally splendid Cristyn Dang, Grant Hodges, Jabari, Donovan Mendelovitz, Tayler Mettra, Bailey Renee Miller, Davon Rashawn, Callula Sawyer, Rochelle Scudder, and Krystle Rose Simmons execute multiple cameos to memorable effect, from law students to parents to profs to boutique and department store staffers and more.

 And all of the above harmonize to perfection under Ryan O’Connell’s astute musical direction while executing Dana Solimando’s demandingly high-energy choreography with Broadway brio and athletic pizzazz.

Though Front Row Theatrical’s rented sets are a decided step down from what audiences got to see in New York or on tour, Adam Ramirez’s costumes, Kaitlin Yagen hair, wigs, and makeup, Kevin Williams’ properties, and Josh Bessom’s sound design are Grade-A each and every one, and Jonathan Infante’s animated projections are a lot of fun to watch if too often washed out by Anne E. McMills’ otherwise terrific lighting.

Casting is by Julia Flores. Emmy J. Lane and Ben Raanan are swings. Little Ricky is represented by William Berloni Theatrical Animals.

Charles Glaudini is associate sound designer. Bree Sherry is production stage manager and Katherine Barrett and Sami Hansen are assistant stage managers. David Elzer is publicist.

If you’ve only seen Legally Blonde staged as a student or community theater production, you owe it to yourself to see it done by Broadway-caliber pros. Simply put, Legally Blondes don’t get much better than this.

La Mirada Theatre for the Performing Arts, 14900 La Mirada Boulevard, La Mirada.
www.lamiradatheatre.com

–Steven Stanley
April 26, 2025
Photos: Jason Niedle

Visit www.theatreinla.com/nowplayingrs.php for a review roundup of what’s now playing in theaters around Los Angeles.

Tags: Heather Hach, La Mirada Theatre For The Performing Arts, Laurence O'Keefe, Los Angeles Theater Review, McCoy Rigby Entertainment, Nell Benjamin