Review: Omigod! LEGALLY BLONDE - THE MUSICAL Is a Winner at La Mirada

If there was ever a funny summer "popcorn movie" equivalent of a Broadway musical, the sparkly LEGALLY BLONDE - THE MUSICAL could definitely qualify. 

A show that, frankly, sorely needs a new Broadway revival, like, yesterday, Southern California audiences can now savor the fact that a brand new, awesomely-entertaining, Broadway-caliber regional production of this hilarious show is currently on stage at the La Mirada Theatre for the Performing Arts through May 18th that's filled with non-stop laughs, lively musical numbers, a ridiculously good-looking and musically-talented cast, and production values that make it all just a genuinely fun time all-around.

And even with a few, very minor opening night mishaps (missed lines, mics dropping sound, rogue notes sung, etc.), I have to say that this cheery, visually pleasing production was genuinely the most fun I have had at a musical so far this year. Considering how seemingly rare a top-tier quality production of this particular musical gets mounted these days, this La Mirada production—presented by McCoy Rigby Entertainment—is definitely a must-see if you're in So. Cal.

An unabashedly joyful, silly shenanigans-saturated musical comedy with a quirky but super-likable "heroine" quest at its center, this camp-tastic 2007 stage adaptation of the hit 2001 movie that starred Reese Witherspoon is that rare screen-to-stage translation that matches the cheeky, witty energy of its original source material, but amping it up even more thanks to the addition of ear worm original music provided by composers Neil Benjamin and Laurence O'Keefe, and a clever book by Heather Hach, adapted from the screenplay written by Karen McCullah Lutz and Kirsten Smith, which is itself was based on the novel by Amanda Brown.

Filled with catchy, pop-infused songs, engaging characters, vibrant choreography, and a not-so-subtle message that calls for female empowerment and self-confidence, the satirical musical celebrates one's inner strength, one's authentic identity, and the breaking of stereotypes.

While the show is pretty much how I remember it, I did notice that a few slight lyrical and dialogue changes have since been enacted into this new licensed version of the show, which apparently—according to an insightful conversation I had with a cast member at the show's opening night after-party—has become a welcome change for many in the production, since the changes were implemented in order to remove some of the more problematic parts of the show that, in 2025, no longer feel appropriate.

But judging from the amount of loud, sustained laughs that filled the theater on Opening Night, it's safe to say that these changes didn't lessen the show's comedic prowess or the enchanting way it effortlessly balances humor and heart.

I can't say enough about how great everything is with this production, and can even go as far as to say that this locally revived iteration—helmed with a palpably brisk pace by director Cynthia Ferrer and featuring fresh, high-energy dance moves from choreographer Dana Solimando—is by far my favorite version of the show since seeing the original Broadway first national tour when it made its way to Southern California back in 2009. 

From its smile-inducing, frenetically fun opener of "Omigod You Guys!" right up until the finalé cast song, the production is just so, so good all around and, I must say, provides such a welcome respite of laughter that many of us really needed in an ever-increasingly depressing nightmare reality we are living in lately.

Featuring a likable cast and impressive Broadway-caliber machinations from its sets and costumes, to its dazzling high-tech projections, bubbly musical accompaniment, and athletic choreography, this fun but deceptively sharp musical follows the journey of plucky UCLA undergrad Elle Woods (the adorably winning Kathryn Brunner), a fashionable and seemingly superficial sorority Queen Bee from Malibu, California who, after unexpectedly getting dumped by her handsome but conservative ex-boyfriend Warner Huntington III (Nicholas McDonough) for not being "serious" enough, decides to enroll at Harvard Law School to win him back and prove that she's not just some pink-clad dumb blonde with impeccable fashion sense, but a person worthy of being a successful man's compatible partner.

Despite having unwavering optimism, Elle arrives at Harvard and, immediately—like anyone on a spiritual quest—grapples with many initial obstacles threatening to derail her journey: her classmates think she's an unserious joke; Professor Callahan (Edward Staudenmayer), her sexist shark of an instructor doesn't think she's lawyer material; and, perhaps most devastating of all, she discovers upon arrival that her ex Warner now has a smart, new "serious" girlfriend, the posh Vivienne Kensington (the amazing Anna Mintzer, who slaaaays her high notes and snarls her derision to perfection) who immediately stereotypes Elle as just another stupid person who shouldn't even be here at Harvard.

Thankfully, Elle does manage to gain some allies: there's local salon stylist Paulette (the incredibly-voiced Anthea Neri-Best) whom Elle coaches in self-confidence, and Professor Callahan's nerdy-cute teaching assistant Emmett Forrest (the superb Michael Thomas Grant, who has officially become my favorite actor to play Emmett ever) who immediately recognizes her potential and tutors and encourages her to do better in class. Later, when all of Elle's studious efforts help land her a spot on Callahan's roster of law interns to help defend fitness guru Brooke Wyndham (ab-tastic Jane Papageorge) in her murder trial, Elle gains her new client's trust and friendship, too.

And in a fun meta twist, Elle also gets "help" and often wildly animated advice from her three main Delta Nu sorority sisters Serena (Bella Hicks), Pilar (Aurelia Michael), and Margot (Grace Simmons), who appear at Harvard in her imagination as her own personal "Greek Chorus," advising and commenting on the action.

Along the way, Elle learns her value and abilities beyond her exterior beauty, as the musical smartly utilizes stereotypes as a way to subvert them. Elle starts the show as a mostly typical "dumb" blonde archetype, but gradually shatters expectations without ever abandoning her true self at any time during the process. In its own way, the musical encourages its audiences to look beyond appearances and assumptions even as we laugh at the silliness of it all.

A slick, highly enjoyable production, La Mirada's version of the show is buoyed by many impressive aspects. While the shaky sorority house structure did make me nervous in the beginning with its seeming instability in supporting the Delta Nu ladies, much of the gathered set designs of the production are top-notch, with Jonathan Infante's pretty animated projections and Anne E. McMills' bright lighting designs doing a lot of the heavy lifting. Adam Ramirez's costumes pop with early-aughts-era color, while sound-wise, the orchestra under musical director Ryan O'Connell's baton sounded caffeinated and lively. As one of the few musicals utilizing pop music sounds as its soundtrack, the musical presents a perfect harmony between the show's fun score with the show's upbeat, contemporary vibe.

And perhaps the production's most thrilling feature is its assembled acting ensemble, many of whom are perfectly cast for their respective roles. 

Brunner is a perfect, quintessential Elle Woods, embodying a fun gal with a kind soul, a wry wit, and impressive vocals. The believably adorkable Grant—whom I enjoyed in his kinda-villainy supporting role on the sadly short-lived TV musical Zoey's Extraordinary Playlist—makes for a convincingly swoon-worthy "soft boi" archetype, which translated well in his lovely chemistry with Brunner's Elle. Mintzer's Vivienne (and her awesome high note belt) is the perfect foil for Elle, and we totally buy it when she switches up alliances in the second act. Staudenmayer is excellent as oily law professor Callahan, while Papageorge who plays his client Brooke should be lauded for singing in full voice while doing a full workout routine without a hint of huffing and puffing. 

I am also especially enamored by Neri-Best who plays Elle's new friend Paulette, not just because it's lovely to see a fellow Filipino actor cast in a role about someone who sings longingly about her Irish roots (haha), but that she performs the goofy, comedic role really well, enhancing it further with a phenomenal singing voice to boot (she sounds so good that even a minor missed lyric restart on opening night is greeted with thunderous, much-deserved applause).

Other standouts include the dashing McDonough as Warner, the very funny Dahlya Glick as Elle's feminist classmate Enid, the memorably quirky Rainy Vasquez who plays both Elle's nerdy sorority sis Kate and, later, star witness Chutney, and the wonderful trio of Bella Hicks, Aurelia Michael, and Grace Simmons as Elle's booty-shaking BFFs. Scene stealer Nathan Madden also had the audience's attention as Kyle, the sexy UPS delivery guy who catches Paulette's lustful eyes. 

At its core, LEGALLY BLONDE - THE MUSICAL is, believe it or not, a pro-feminist story—one that reclaims femininity as a source of strength rather than a weakness. Elle is often easily dismissed at first because of her personality, appearance, and interests, but the musical makes a powerful point: intelligence and ambition are not incompatible with fashion, charm, optimism, and kindness. Though Elle may seem self-absorbed, self-obsessed, and surface-focused, it's clear that she also cares for others, wants to do the right thing, and wants to always boost others and fight/advocate for them.

During the course of two hilarious acts, we bear witness to Elle's admirable evolution from someone chasing a man (who saw her as nothing else but pretty arm candy) to someone chasing her own dreams (but, of course, she happens to bag a better, more compatible man in the process). While the musical may play with pinks, sparkles, and stereotypes, it also delivers surprisingly deep commentary on gender expectations, power dynamics, and the healing attributes of personal growth.

More than just a funny, feel-good show (although we truly need those now more than ever), LEGALLY BLONDE is a joyful, musical reminder that confidence, kindness, and intelligence are never mutually exclusive—and to always not judge a book by its ratty corduroy or pink, sparkly cover.

** Follow this reviewer on Bluesky / Instagram / Twitter X / Threads: @cre8iveMLQ **

---

Photos by Jason Niedle / TETHOS courtesy of La Mirada Theatre for the Performing Arts.

Performances of the McCoy-Rigby Entertainment production of LEGALLY BLONDE - THE MUSICAL at The La Mirada Theatre for the Performing Arts continue through Sunday, May 18, 2025. The theater is located at 14900 La Mirada Boulevard in the city of La Mirada, CA. Parking is Free. For tickets, visit LaMiradaTheatre.com or call (562) 944-9801 or (714) 994-6310.

***

To post a comment, you must register and login.