Legally Blonde: The Musical (King’s: 16 – 19 March, ’16)

“Catchy songs, big dance numbers and laughs a-plenty”

Editorial Rating: 4 Stars: Nae Bad

For those who know the film, the premise of the musical is almost exactly identical – blonde bombshell and fashionista Elle Woods from Malibu, California is determined to bag her man, so she buries her head in books and chases him to Harvard law school in the hope of impressing him. The accompanying score is very poppy and upbeat, and while not to my personal taste, even the sternest of faces can’t help but bop along with some of the numbers.

On the whole, local troupe the Bohemians Lyrics Opera Company handle this big production very well – with some impressive dance routines and real powerhouse vocals throughout. The mind boggles at some of the quick changes performed, especially those done on stage, so credit where credit’s due for the risk and professionalism to carry those off. At times, particularly in Whipped into Shape, the performance felt a little flat and a stretch too far for this amateur group – perhaps a bit of shakiness on opening night or not quite having the musical tempos nailed – but otherwise it’s very well rehearsed and full of personality.

Lydia Carrington gives it her all as leading legal lady Elle Woods, and shines with fantastic energy and likeability. Her spirit never falters throughout – impressive considering she is barely ever off stage – and she shows great range and versatility to reflect the changing mood in each scene. However, it’s Lyndsey McGhee as Paulette who raises the biggest cheer of the night with the very moving Ireland (watch out for that towards the end of Act 1). Her voice is deep, rich and she delivers a knockout performance. It’s a shame we don’t get to see more of her throughout the show.

While the leads very much hold their own throughout the performance, for me it is some of the cameo roles that make this production really enjoyable: Ross Stewart is eminently watchable as UPS guy Kyle, while Sam Eastop and Andrew Knox make a great comic pairing in Gay or European. And of course, there are dogs. Scene-stealing dogs. You have been warned…

Yes it’s cheesy, yes it’s American, and yes at times it’s a bit ridiculous, but it’s also a show full of catchy songs, big dance numbers and laughs a-plenty (my favourite line being “I see dead people” in relation to the rather bizarre inclusion of a Greek chorus). If you like the sound of all that then you’ll love this production.

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Reviewer: Steve Griffin (Seen 16 March)

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‘Sister Act’ (King’s: 18 – 21 February ’15)



Editorial Rating:  4 Stars: Nae Bad 

‘The Bohemians’, established in 1909, are one of Edinburgh’s major amateur musical companies.

Sister Act was one of the first DVDs I was ever given as a child. There was always a magic to the film that I adored and Whoopi Goldberg never failed to have me dancing and singing along with the other nuns. Cheri and Bill Steinkellner adapted the Whoopi Goldberg classic for stage; something I am so glad they did. Bohemians’ director Colin Cairncross took on the challenge, bringing to the stage a production full of vivacity and talent. For an amateur production, this show really did impress.

Ian Monteith-Mathie took on the role of Musical Director for this production and worked with Alan Menken’s music score to create a beautiful sound from the performers – the harmonies in the full cast numbers were incredible. His orchestra carried the cast through the show in funky rhythms and soulful melodies.

Niloo-Far Khan took a walk in Whoopi’s shiny heeled boots as Deloris Van Cartier and commanded stage with ease. Vocally, her performance was faultless and she gave great gusto to her character. Her on-stage rapport with Mother Superior – portrayed by Dorothy Johnstone – was as entertaining as it was electric. The pair shone in the spotlight as they battled to prove the other wrong before finally reconciling their differences. Johnstone carried a wisdom about her that was evident in both action and song and her protective instincts towards the nuns shone through. It was truly delightful to witness the transformation of the choir of nuns – the resulting musicality from the hard work of Deloris (and Monteith-Mathie) raised hairs on the neck. It was, for lack of a better word, divine.

Officer Eddie Souther lamented that he “Could Be That Guy” and if he was referring to a talented singer and a joy to watch on stage, then Gareth Brown certainly was “that guy”. His soft, awkward character was greatly set against the imposing Curtis Jackson. Padraig Hamrogue’s portrayal of Curtis was reminiscent of the black and white gangster movies – his menacing demeanour coupled with a bluesy bass range created an imposing mobster who demanded respect through fear. His three henchmen, Joey, TJ and Pablo juxtaposed his dark humour by lighting the stage with their comical desperation to please their boss. Thomas MacFarlane, Lewis McKenzie and Andrew Knox really threw themselves into their characters and greatly entertained the audience with their antics – their song, “Lady in the Long Black Dress”, was hysterical, offering the comic trio a real chance to hustle the limelight.

The show was bathed in colour. The costumes – a superb effort from Jean Wood and Liz Kenyon – were fantastic; Lighting Designer Jonnie Clough filled the stage with a complex programme of spotlights, colourwashes and dazzling effects. The set design from UK Productions Ltd, although perhaps too large and busy for the stage space, was certainly impressive in its detail. This production was full of glitz and glamour; even the nuns were able to lose the basic black habit for something a little (or a lot) more colourful. The cast raised their voices and they raised the roof. This was an uplifting performance and a fantastic show.

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Reviewer: Amy King  (Seen 18 February)

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