Legally Blonde as presented by Ulster Operatic Company

Date of Attendance: October 11, 2024

Society: Ulster Operatic Company

Production: Legally Blonde

Brief Overview of Show and Front of House Evaluation

Ulster Operatic Company’s production of Legally Blonde at Belfast’s Grand Opera House was a delightful theatrical experience set against the stunning backdrop of this iconic venue. The old-style décor of the theatre beautifully contrasted with the modern, stylish foyer, creating a warm and sophisticated atmosphere. The front-of-house team greeted guests with professionalism and even handled late arrivals gracefully, ensuring a welcoming start to the evening. Though there wasn’t any specific décor themed around Legally Blonde, the elegance of the venue suited the high energy of the show.

The production itself was superbly crafted, with every performer contributing to a powerful ensemble dynamic. Each member was equally invested and committed, creating a performance where it was impossible to pinpoint a single standout—an impressive feat in amateur theatre. The energy and synchronisation across the cast were apparent and contributed to a polished, memorable performance.

Director – Direction and Production

The direction of Legally Blonde, by Tony Finnegan, was a testament to careful planning, creativity, and an eye for detail. The scenes were slick and meticulously blocked, with clear attention given to every movement and reaction. From minor characters to lead roles, each performer had a well-defined character arc, adding depth to the production and allowing for richer storytelling. A particularly bold choice was the lowering of the tricolour cloth, which did not go unnoticed.

Two moments especially showcased the director’s flair: the guard’s humorous interaction with Brooke and the waiters’ engaging dynamics in the opening scene. These interactions were well-timed and skilfully directed, adding delightful humour and a human touch to each character’s role. Overall, the direction left no detail unattended, creating a production that was as cohesive as it was captivating.

Musical Director – Direction and Orchestra

The music for Legally Blonde was vibrant and energetic, thanks to a strong big-band orchestra led by a capable Musical Director, Wilson Shields. The band’s sound was powerful and added a rich layer to the show, though occasionally it overpowered the vocalists on stage. The partial openness of the drum screen seemed to cause a slight echo effect with the drums. Nevertheless, the MD expertly guided the tempo and timing, with no missed cues or rushed beats. This control allowed the cast to perform with confidence, keeping the energy high while ensuring that the pacing of each song matched the intensity of the scene.

Choreographer – Choreography

The choreography by Matthew Watson in this production was nothing short of spectacular. Every cast member was in sync, each move executed with precision, and every routine exuded professionalism. Not a single beat or step was out of place, and even the smallest gestures were cohesive and polished. It was remarkable to see amateur performers execute such demanding routines with finesse and uniformity. The male cast members, in particular, brought a divine energy to their movements, adding a layer of excitement and energy that elevated the choreography even further. This accomplishment speaks volumes about the dedication of the choreographer and the commitment of the cast.

Leading Principles – Singing and Acting

Elle Woods – Karen Hawthorne

Karen Hawthorne gave a charming performance as Elle Woods, combining polished singing with a warm stage presence. Her portrayal was slightly understated in terms of Elle’s girlish charm, but her energy and professionalism shone through, making her a believable and engaging protagonist.

Emmett Forrest – Sean Harkin

Sean Harkin brought a gentle strength to Emmett, his voice carrying a beautiful tone that matched his character’s humble nature. His portrayal of Emmett’s quiet brilliance was endearing, and his chemistry with Elle felt authentic and well-paced.

Paulette Buonafonte – Jordan Arnold

Jordan Arnold’s portrayal of Paulette brought both warmth and humour, and her lively personality ultimately won over the audience. Although she appeared less confident with some of the choreography, she made up for it with her expressive acting. Additional interaction between Paulette and Kyle could have enhanced the comedic impact of her character, although I believe this is a fault of the script and not of the production.

Warner Huntington III – Joshua Martin

Joshua Martin played Warner with a charming arrogance that perfectly captured the character’s sense of entitlement. He leaned into his character’s self-centred nature, alternating between heartthrob and heartbreaker. His voice was consistently strong, adding a level of sophistication to Warner’s flawed persona.

Professor Callaghan – James McGinn

James McGinn’s subtle take on Professor Callaghan gave an unexpected twist to the character’s unsavoury intentions. His decision to underplay Callaghan’s creepiness made the kiss scene even more shocking, creating a jarring effect. Though his presence could have been more commanding, McGinn’s performance was solid and cohesive.

Vivienne Kensington – Caitlin Johnston

Caitlin Johnston’s Vivienne was wonderfully sharp and sarcastic, portraying her initial haughtiness with precision. Her voice was strong, and she held her own in scenes with the chorus. Her gradual character development was well executed, allowing her softer side to come through naturally as the show progressed.

Supporting Roles – Singing and Acting

Brooke Wyndham – Jordan Rosborough

Jordan Rosborough’s Brooke was full of energy, managing the impressive feat of singing on beat and in tune while performing with a jump rope. She balanced Brooke’s strength and vulnerability, delivering humour and resilience in equal measure.

Kyle B. O’Boyle – Adam Johnston

Adam Johnston fully embraced the role of Kyle, exuding confidence and comedic timing. He stayed in character even through audience raucous laughter, maintaining his swagger and cheeky persona, which made him an audience favourite.

Margot – Erin Tumlinson

Erin Tumlinson gave a solid performance as Margot, singing and dancing with grace and precision. She fit seamlessly into the cheerleader quartet, adding to the group’s harmonious dynamic.

Pilar – Ellen Magee

Ellen Magee was equally delightful as Pilar, bringing enthusiasm and energy to the role. Her bubbly personality and synchrony with the group made her character endearing.

Serena – Leah Henderson

Leah Henderson stood out among the quartet with her lively portrayal of Serena. Her vocals and dancing were confident and animated, embodying the spirit of a cheerleader and adding depth to the ensemble.

Kate – Caroline McMichael

Caroline McMichael showed maturity beyond her years as Kate, blending well with the older cast and adding a grounded presence to the ensemble.

Chorus/Ensemble – Singing, Acting, and Choreography

The chorus and ensemble brought an unparalleled level of professionalism to the production. The synchronisation in dance numbers was flawless, with each member committed to the choreography and singing. Harmonies were consistently strong, and it was clear that every individual was invested in their role, adding to the collective energy on stage. The discipline and cohesion within the ensemble were evident, elevating the production and allowing each scene to flow seamlessly from one to the next.

Stage Management & Set Design

Despite limited technical rehearsal time, the Ulster Operatic Company’s stage team expertly managed the professional set, which allowed for smooth scene transitions and added a polished visual element to the production. With the advantage of a fly tower, the crew was able to manage set changes with precision, enhancing the show’s pacing and keeping the audience engaged. Each set piece was well-placed, and the backstage crew executed their roles efficiently, making for a seamless visual experience.

Technical – Light and Sound

The lighting design was effective overall, though there were a few slightly delayed cues. Focus and colour were well-balanced, complementing the onstage action and keeping transitions smooth. Clever use of lighting also helped draw focus and conceal scene changes, adding to the fluidity of the performance.

Sound was mostly well-mixed, though some supporting characters could have benefited from increased volume, particularly during ensemble scenes. Given the orchestra’s size, the sound balance could have been adjusted to ensure that all vocal parts were clearly heard. However, these minor issues did not detract significantly from the show, and the technical team demonstrated solid skill overall.

Visual – Costumes, Hair, and Makeup

The costume, hair, and makeup design contributed to a visually cohesive production. Costumes were fitting for each character, helping the audience easily identify the roles and personalities. They were pristine throughout. Hair and makeup were similarly well-executed, with styles that suited each character’s personality. Elle’s curls occasionally got in her face, but this was a minor detail that did not detract from the overall polish of the production.

Adjudicator’s Suggestions and Comments

Ulster Operatic Company’s Legally Blonde was a standout production, showcasing a cast and crew dedicated to delivering a memorable, professional performance. Every element—from direction to choreography, from technical execution to visual design—blended seamlessly, creating a cohesive and enjoyable show. Finding areas for improvement in such a strong production is challenging. A minor adjustment to sound balance might help to better project the supporting roles in future performances, but this is a minor suggestion.

Suggestions for future improvement are challenging to identify, as this production was already exemplary. Perhaps minor adjustments in sound mixing could improve clarity for supporting characters. Ultimately, the performance would have been equally compelling with minimal staging or props, as the ensemble’s energy and synergy were the true highlights. The Ulster Operatic Company delivered a slick, clean, tidy show that was thoroughly enjoyable from start to finish.

Therese Maher - Sullivan Adjudicator 24/25

Some photos of the production by Melissa Gordon