One of my close friends was a cast member in the UBC Musical Theatre Troupe’s production of Legally Blonde – The Musical. Not only did I get to go and support her Mar. 24 performance, I was also able to document it in my MUSC 326a concert journal! Having attended two operas and a VSO concert for my previous entries, Legally Blonde would definitely be a striking change in musical genres! Originally a novel by Amanda Brown, it was famously adapted into a 2001 film starring Reese Witherspoon. In 2007, the movie was then turned into a contemporary music that opened on Broadway. The story focuses on Elle Woods, a sorority president and fashion merchandising student at UCLA who decides to pursue a law degree at Harvard after being rejected by her boyfriend for not being “serious enough.” We follow her difficulties fitting in with the Harvard crowd, constantly being ostracized for her love of fashion, beauty, and the colour pink. Ultimately, she learns to apply her talents to her legal education, proving to herself and others her formidable legal capabilities.
In many ways, Legally Blonde retains musical features that are reminiscent of both Italian Opera Buffa and Wagnerian Opera. Opera buffa originated from comedic intermezzi performed between acts of dramatic opera seria. These performances represented the natural stories of contemporary life, a vast contrast to the mythical features of opera seria, and thus gained popularity due to their relatability. This is representative of how contemporary musicals like Legally Blonde have gained popularity in the 21th century, for they depict stories directly relatable to a general audience. The story of Elle Woods reverberates with any would-be theatre-goer who ever felt as though they did not fit in or had their accomplishments and inner qualities overshadowed by a physical attribute. Through the uplifting, lighthearted lyrics and a charming score Laurence O’Keefe and Nell Benjamin, the modern audience becomes captivated the same way early-Classical audiences fell in love with opera buffa.
Though composed nearly 125 years after the death of Richard Wagner, elements of Wagnerian leitmotifs are still prevalent in the score. Much like the Prelude to Tristan and Isolde, the very brief overture to Legally Blonde provides us a brief look at some recurring themes that will be heard later. One prevalent theme is present in the first number “Ohmigod you guys.” The melodic that accompanies the lyric “Oh mi god, oh mi god you guys!” can be heard throughout the musical, often playing in times Elle Woods experiences success or victory. The theme from “Serious” can also be heard throughout the musical, indicating moments where Elle experiences self-doubt.
One final comment can be made on the structure of the musical performance. Unlike other popular musicals, such as Les Miserables, or Phantom of the Operawhich employs constituent “recitative,” Legally Blonde does not have constant musical instrumentation. Rather, the plot is moved forward mainly be dialogue, with individual numbers, much like the structure of a singspiel. As a result, ever number can be isolated as an individual performance, and allow for applause breaks between piece.
It is interesting to see how features of opera from the 18thand 19thcentury, as well as the factors that draw audiences to the theatre, are still very relevant in 2019! (4/5)