Annie Zeleznikow

Legally Blonde is a wonderful musical with numerous power ballads and harmonious greek chorus numbers. This show follows Elle Woods as she realises she is stronger and smarter than she knows. Stars and the Moon production of Legally Blonde was able to bring an entirely new dimension to Elles’ story, utilising the signature partnered roles to add depth and richness to this production.

Stars and the Moon is an all abilities production company, with all of their shows utilising a buddy system for each role, where “at least one castmate identifying as living with a disability, disabled and/or neurodivergent”. This creates a warmth to every show that they do, since the inception of the company. Through providing a space on stage for all those that wish to participate, Stars and the Moon creates an atmosphere of acceptance. More than that, the production includes a large front of house team, with 2 versions of programs available, going above and beyond in creating a space that is widely accessible.

The show began with an introduction and explanation of what to expect for the evening. Instructions were provided for those who might have sensory issues, and permission was granted to leave the theatre if audience members were feeling overwhelmed, over joyed, or over excited. That sort of introduction reinforced what I already knew at this point, that this production was carefully crafted to be inclusive and accessible. Audience members did sometimes have difficulty remaining quiet, although not intentional, this was at times quite distracting and prevented me from paying attention to what was happening on the stage.

The costumes were thoughtfully designed by Jessamine Moffett, with partnered castmates wearing the same costume. All costumes had accessible components, with comfortable looking shoes or clothing that adheres to a castmate’s sensitives. The designs went beyond presenting the show in a meaningful and interesting way, and were clearly practically thoughtful too. In addition to the thoughtful costumes, the design of the set and props (by Harry Gill) was thoughtful and created with intention. The set was wheelchair accessible, with both stairs and ramps, and allowed for the whole cast to participate fully in the production.

Given the nature of at least two actors for each role, the stage was often filled with cast members. Throughout the show the entire ensemble remained energetic. The choreography (by Benjamin Curé) greatly caught my attention, remaining engaging and considerate of the needs of all actors on stage. In particular, Karl McNamara and Mark Polonsky stood out during their performance of Blood in the Water, a number where the audience is introduced to what class looks like at Harvard Law School. McNamara and Polonsky lead the number with a nice cadence and depth. Similarly, Ruth Ben-Danan and Em Svarnias as Brooke exceeded my expectations during their big number, Whipped into Shape, with a silly and sharp interpretation of their role.

I would be remiss if I didn’t address the spectacular efforts of Kelsey Halge and Natasha Frieberg as Elle, Lawrence Hawkins, Alexander Gilbert and Eloise Vernon as Emmett, and Alanna Julian and Katie McMillan as Paulette. Halge and Frieberg were able to sustain an intensive role while making it appear effortless, with impressive vocal work and harmonies. Hawkins, Gilibert and Vernon had delightful chemistry, often sharing small moments on stage where they connected with each other, showing real connection had been built throughout the rehearsal process. Julian and McMillan charismatically injected bold humour into the show.

Having seen previous shows produced by the Stars and the Moon production team, I continuously remain impressed with the quality of the work they produce. In the past, utilising fantastical shows such as Spongebob or Shrek, meant that the castmate system thematically added layers and complexity to the show. I found that with a more grounded show such as Legally Blonde, the castmate system didn’t quite have the punch it did in previous shows. I greatly admire how this model allows for diverse people to be on stage, and the production team has only chosen interesting and exciting shows to produce. Continuing to choose shows that can be improved with the cast mate system will mean that exciting and innovative art will continue to be made in Melbourne.

To book tickets to Legally Blonde, please visit https://www.starsandthemoon.org/.

Photographer: Matthew Chen

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