Review: Musical ‘Legally Blonde’ packs serious talent

What is it about the Metropolis theater in Arlington Heights? They continually hit the ball out of the park with their entertaining productions.

This time, it’s the musical “Legally Blonde.” It’s not one of my favorite shows, but Director Robin Hughes’ casting and vibrant pacing may have changed that opinion, although I still have a personal problem with a scene in Act Two (but it’s the creators’ writing that’s at issue). Amazingly, Music Director Kenneth McMullen is directing the live seven-piece band not from the pit, but from a School of the Performing Arts classroom on the second floor, and the music is piped in. You’d never know it, thanks to Sound Designer Matt Kania; the quality is excellent and the cast never misses a beat.

Audiences are probably most familiar with the 2001 Reese Witherspoon movie, which was based on Amanda Brown’s real-life experiences at Stanford Law School; it wasn’t until 2007 that the musical version premiered on Broadway. With book written by Heather Hach, and music and lyrics by Laurence O’Keefe and Nell Benjamin, “Legally Blonde” was nominated for seven Tony awards, and after a run in London’s West End, won the Olivier Award for Best New Musical.

The Metropolis production has an enthusiastically energetic cast of 20 talented performers telling the story of Elle Woods on a clever, multi-level and utilitarian set designed by Valeriya Nedviga. The audience applauded the ensemble’s opening “Omigod You Guys,” and never stopped the admiration until the end. The themes of feminism and self-discovery are clearly present, as Elle, the underestimated blonde from Malibu and former Delta Nu sorority president, tackles stereotypes, sexism and misogyny after being dumped by her boyfriend, Warner Huntington III. His plans to become a future senator by the age of 30 require he be with someone “more serious” (he makes first-name references to Jackie Kennedy and Marilyn Monroe, which may confuse younger audiences). In a misguided attempt to win Warner back, Elle enrolls in the same prestigious Harvard law school he’s attending, and a different journey for Elle begins.

Alaina Wis is a marvelous Elle. She looks the part, can sing and dance like a Broadway star, and has great chemistry with everyone on that stage. Wis shows the subtle development of Elle as she realizes her potential, and proves her detractors wrong. (BTW, she is only ever upstaged by Bella, the Belgian Schipperke who plays Elle’s dog, Bruiser.)

Jimmy Romano certainly could be a male model, and, as Warner, does a more than credible job with his ambitious and unfeeling character as illustrated in the song “Serious.” Dan Hamman is a sweetly determined and patient Emmett; he makes Elle realize every time Warner walks through the door her “IQ drops to 40.” His signature song, “Chip on My Shoulder,” is a wonderful manifesto on truth and motivation.

Three other actors are also standouts in this production: Christopher Johnson is the much feared, ruthless and severe Professor Callahan – just wait for his iconic song “Blood in the Water.” It certainly won’t do much to further a positive opinion of lawyers. Michelle Tibble is Elle’s good friend, the beautician Paulette; from her Boston accent to her Irish fandom, Tibble is a hoot. She, of course, has some of the best lines in the show – “behind every bad hair decision is love,” and her happy ending is particularly adorable thanks to UPS delivery man Quinn Corrigan.

And in Act Two, we meet Haley Gustafson portraying mega-fitness icon Brooke, who also happens to be on trial for the supposed murder of her rich older husband. What this Cary native can do with a jump rope is amazing, as is her immeasurable vitality. She sings “Whipped Into Shape” at the same time as she rigorously exercises and poses – I was exhausted just watching her. And what choreographer Jen Cupani has this ensemble do throughout the show is incredible and visually engaging.

So what is my problem? It’s the creators’ writing in Act Two - specifically with the song “There! Right There! (Gay or European?)” In a scene, Elle is questioning a witness in Brooke’s defense. Too many flamboyant, campy, gay stereotypes are either hinted at or delivered around the character of Carlos. I’m just thankful this type of regressive characterization has progressed beyond such illustrations. Yes, there is some redemption in Carlos’ boyfriend who comes from the gallery to do a brief bit about being proud to be gay. And the director has sensitively elected to have some of the ensemble wave rainbow flags in the background.

Naturally, as in most musicals, there is a happy and cheerfully satisfactory ending for all. With “Legally Blonde,” we are delightfully reminded to thine own self be true, and to remember to not judge a book by its cover.

• Regina Belt-Daniels has been involved with the theater since the first grade when she was cast as a rather bossy Mother Goose. She has directed over 30 shows and been involved with more than 50 plays and musicals in various capacities. When not attending the theater, Regina loves to travel with her husband, teach, and write theater reviews.

IF YOU GO

WHAT: “Legally Blonde”

WHERE: Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights

WHEN: Through Nov. 20

COST: $40; proof of vaccination required, and masks are to be worn at all times

INFORMATION: 847-577-2121, Metropolisarts.com