Legally Blonde ⭐⭐⭐

Legally Blonde follows Elle Woods on her transformation from It Girl fashionista to legal ace at Harvard Law School, all in the name of love. Elle must prove she is more than blonde ambition, swap the changing rooms for the courtroom and learn that ‘being true to yourself never goes out of style.

Nikolai Foster's direction is good and enjoyable for the most part. However, quite a few contradictory entrances and exits jar with the show, and some scenes could have used better use of the space. Despite this, the production has plenty of energy and keeps the story moving, even if some staging choices could be refined. Leah Hill's choreography is mostly enjoyable and energetic, bringing plenty of life to the big musical numbers. There are a couple of moments, though, when the movement doesn’t quite fit with what is happening on stage. While the choreography certainly gives the ensemble plenty to do, I wanted a little more consistency between the movement and the storytelling.

Colin Richmond's set was interesting, though I had some reservations about the overall design. The large pink archway that wraps around the stage feels as though a massive waste of space and, ultimately, doesn’t add much to the production. Instead, we are left with a collection of miniature buildings representing the locations in which each scene takes place. If this is intended to create a forced-perspective effect, it doesn’t quite work for me, and the result is more cluttered than effective. Callahan’s classroom demonstrates that the design had promise, and I would have preferred to see more fully realised rooms rather than these tiny placeholders. The layout at the beginning of Act Two also leaves a couple of ensemble members blocked on either side of the set, which is a shame. However, the number itself was cleverly done, and I particularly enjoyed the first Warner scene and the use of the jail phones and glass. These instances show that the production can create interesting stage pictures and use its design in imaginative ways; I wish that approach had been more consistent throughout.

Tom Rogers's costumes were really lovely. I particularly enjoyed the brighter costumes at the beginning, which made the shift into Harvard’s black-and-white colour scheme even more striking. Callahan having a little more colour helps him stand out, while the different shades of pink used for Elle work beautifully. It would have been easy to dress her in the same shade throughout, but the variation keeps her look fresh and visually interesting while still making her instantly recognisable.

Ben Cracknell's lighting worked well, with LED strips appearing throughout the production. These often added something significant to the scene rather than simply lighting the performers, and they helped create some visually striking moments. The lighting also kept the different locations feeling invigorating and stimulating, adding to the show’s overall energy. Adam Fisher's sound was strong, with the vocals consistently clear and well balanced against the band. In a musical with so many big numbers and busy ensemble moments, that balance makes a real difference, letting the lyrics and performances come through without losing the music's impact.

Sam Cox's wigs, hair, and make-up looked lovely, and each character was instantly recognisable, even in a different costume. The styling helps establish the characters’ personalities and gives the ensemble a clear visual identity. It also supports the show’s heightened, colourful world, where a change of look can quickly communicate a shift in character or situation without the audience having to work too hard to follow it.

Heather Hach's book is good, clever, and funny, bringing together everything you love about the musical with updated references that make it feel relevant in 2026. The humour is broad and playful, but a clear story still runs beneath it all. Elle’s path is about much more than proving people wrong: it is about discovering her own abilities and learning that she doesn’t have to change who she is to be taken seriously. The music and lyrics by Laurence O’Keefe and Nell Benjamin are as enjoyable as you remember, with a few updated references that give the familiar material a fresh feel. The score still has plenty of catchy numbers, big musical moments and opportunities for the performers to show off their vocal abilities. It is easy to see why these songs have remained so popular, even if some of the individual performance choices didn’t always land for me.

Hannah Lowther as Elle Woods gave an okay performance. While her singing was good, I struggled to feel a real connection between her and the audience, and some of the emotional moments appeared a little distant. At times, the vocal riffs seemed more like showing off than serving the moment. Elle needs to be more than a collection of impressive notes: the audience needs to connect with her experience, and I wanted more emotional richness and warmth here.

Daisy Twells did an excellent job as Vivienne, particularly given that this was her debut performance in the role. She brought some wonderful nuances to the character that I hadn’t seen before but really appreciated. Rather than making Vivienne simply an obstacle for Elle, she gave her a little more complexity, aiding us in understanding the person behind the initial impression.

Keanna Bloomfield's Paulette was a wonderful, well-rounded performance. She brought dimension to the character, a marvellous voice and glorious stage presence. Paulette is one of the show’s most endearing characters, and Bloomfield made her a pleasure to watch. I would have liked a little more comedy in places, but there was plenty to enjoy in the warmth, sincerity, and spirit she brought to the role.

Jamie Chatterton as Warner gave a wonderful performance, though at times I wanted him to lean a little more into the character's villainous side. Warner needs to be sufficiently frustrating for us to understand Elle’s determination to move on from him, and there were occasions when I wanted that edge to come through more strongly. Nevertheless, he made a good impression and fit comfortably into the show's world.

James Lim as Emmett gave us a wonderful characterisation, with lovely depth and some excellent comedic moments. He brought a charm to the role that made Emmett easy to root for, and I particularly enjoyed the way he put his own spin on some of the solos. Those choices helped the performance feel fresh without losing what makes the character so appealing. His work contrasted strongly with Warner and gave Elle’s developing relationship with Emmett a welcome sense of heart.

Ultimately, this Legally Blonde has plenty to enjoy. The music is familiar and catchy, the costumes are colourful and effective, and the staging includes some genuinely clever moments. The cast also has several strong performances, particularly from Daisy Twells, Keanna Bloomfield and James Lim. However, some of the design choices feel unnecessarily cluttered, a few staging moments could be clearer, and I wanted a stronger emotional connection from Elle herself.

It is still a fun night at the theatre, and the musical’s humour and infectious score remain a winning combination. However, this production doesn’t quite reach its potential, leaving me wanting a little more. Click here to see if this show is coming near you.