BWW Reviews: Keeton Theatre's LEGALLY BLONDE Is As Good As It Gets

"Ohmigod, ohmigod you guys," if there is a more infectious, more outrageously fun opening number from a recent Broadway musical than the one that energetically raises the roof (and the curtain) on Legally Blonde, the Musical, I'm loath to recall it (quite possibly because of the earworm that now plays the song on an endless loop in my head). Truth be told, I wouldn't necessarily mind watching The Keeton Theatre's enthusiastic cast performing the song over and over-their performance, staged and choreographed by Kate Adams and set to the music from Ginger Newman's four-member band, is so ridiculously good that I wouldn't mind a return trip to the confectionary pink world of Elle Woods and company.

Legally Blonde, the Musical is as tuneful and entertaining as any musical could ever hope to be, and while the story seems lighthearted and fun, there's a definite message to be found in Heather Hach's book and the music and lyrics by Laurence O'Keefe and Neil Benjamin. Under Adams' laser-sharp direction-that itself is filled with a lot of heart and her unerring attention to detail-The Keeton Theatre's cast offers up a production of the show that's as good as it gets.

In addition to Adams and Newman, credit is due Jim Manning for his clever and colorful set design, to Laura Higgins for her spot-on and fashionable costume design, Kelly Landry for her terrific lighting for the quick-moving spectacle and to Joel Bruce whose sound design is flawless. And kudos to David Y. Williams, who shares choreographic responsibilities with Adams, and to the members of Newman's band: Lee Druce, Bob Marinelli, Ed Greene and Dan Hagen.

Led by the impossibly talented Taylor Tracey as Elle, the Keeton cast is filled to overflowing with talent, verve and style, with nary a weak link to be found in the ensemble. The play's  action moves along at a terrific pace, the show's songs ushering us along on Elle's adventurous journey as she morphs from UCLA fraternity sweetheart to Harvard Law School's bright, shining academic star. As farfetched as it sounds, the effervescent Legally Blonde is grounded in a very real sense of purpose, as Elle makes the incredible transformation from a vacuous airhead who lives to shop to an intelligent woman brimming over with ambition and a zeal for helping the underdog.

It's easy to cast off Legally Blonde, the Musical as just a fluffy, puffy pink piece of musical cotton candy, but perhaps it might best be described thusly: a high-calorie milkshake made with a scoop of protein powder to give it some nutritional heft. It's delicious and decadent, but there's some stuff mixed in that's good for you. As raucously funny and outlandish as Legally Blonde is, the message is deeper and far more sincere than you would expect. And that's why only really cold-hearted theater-goers won't love this high-flying, tremendously affectionate and winning romp. Otherwise, you'll be smitten! Ohmigod.

The aforementioned opening number is high-spirited and so freakin' much fun, with Adams and Williams' choreography perfectly capturing the over-the-top sense of sisterhood exemplified by Elle and her Delta Nu comrades. In fact, the show's score is sure to grow on you: "The Harvard Variations" is cleverly plotted, "So Much Better" is a victorious anthem for our times, "Whipped Into Shape" will give you a workout, "Bend and Snap" perfectly captures one of the original film's most iconic moments and "Legally Blonde" is a sentimental ballad that is certain to pack an emotional wallop. And songs like "Blood in the Water" and "Gay or European" are big ensemble numbers that echo the very best to be found in all of musical theater, the uniquely American art form that we all love.

Essential to the show's success is finding an actress to play Elle who defines the term "triple threat" and in Tracey, who's making her Nashville stage debut (save for a number from the show she performed at The First Night Honors), Adams has struck gold. Tracey's confident performance is, quite frankly, startling and completely captivating. It's hard to take your eyes off her as she strides across the stage with a sense of purpose, singing all of Elle's signature songs with her gorgeous voice, leading the ensemble in Adams' choreography with stylish skill and delivering her book scenes with consistency and warmth. To say Tracey has stage presence is an understatement; she has PRESENCE-writ across the sky in giant, capital letters.

Jeffrey Ellis is a Nashville-based writer, editor and critic, who's been covering the performing arts in Tennessee for more than 25 years. He is the recipient of the Tennessee Theatre Association's Distinguished Service Award for his coverage of theatre in the Volunteer State and was the founding editor/publisher of Stages, the Tennessee Onstage Monthly. He is a past fellow of the National Critics Institute at the Eugene O'Neill Theatre Center and is the founder/executive producer of The First Night Honors, held during Labor Day Weekend, which honor oustanding theater artists in Tennessee in recognition of their lifetime achievements and includes The First Night Star Awards and the Most Promising Actors. Midwinter's First Night, held the first Sunday in January after New Year's Day, honors outstanding productions and performances throughout the state. Further, Ellis directed the Nashville premiere of La Cage Aux Folles, The Last Night of Ballyhoo and An American Daughter, as well as award-winning productions of Damn Yankees, Company, Gypsy and The Rocky Horror Show, with Ellis honored by The Tennessean as best director of a musical for both Company and Rocky Horror.

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