Theatre review: Cheeky charm and energy abound in Metro Theatre's pink-powered Legally Blonde
Vancouver newcomer Celeste Nicholson heads a strong cast with enough verve to delight even those who are very familiar with the show.
Legally Blonde The Musical at Metro Theatre. Photo by Moonrider Productions
Metro Theatre presents Legally Blonde The Musical to June 7
SNAPS FOR METRO Theatre! The long-running theatre company is showing off a fresh, pink-inspired makeover with its production of Legally Blonde The Musical.
Directed by Christopher King, Metro’s take on the beloved crowd-pleaser bursts with youthful energy, heartfelt emotion, and some inventive ideas. Led by Vancouver newcomer Celeste Nicholson (from Saskatoon) as heroine Elle Woods, this production delivers enough cheeky charm, sincerity, and verve to delight even those who are very familiar with the show.
Based on the iconic 2000s film, the musical follows Malibu sorority girl Elle Woods (Nicholson) as she chases the love of her life, Warner Huntington III (Stephen Myers), to Harvard Law School. Along the way, she befriends lovable hairstylist Paulette Bonafonté (Julia Halabourda) and earnest law student Emmett Forrest (Daniel Curalli), ultimately discovering that her compassion and authenticity can take her much farther than she ever imagined.
Nicholson commands the stage from the outset. Her bubbly charisma, confidence, warmth, and undeniable “main character energy” carry audiences through the highs and lows of Elle’s journey. She also has strong vocal chops, a highlight being the act-one finale “So Much Better”, which she stamps with a soaring, emotionally charged belt.
Nicholson and Curalli also develop a believable and emotionally resonant chemistry. Curalli’s gentle sincerity creates a touching dynamic between the pair. Meanwhile, Halabourda proves a scene-stealer as Paulette, balancing street-smart toughness with touching vulnerability—particularly during her endearing attempts to master the “Bend and Snap” in hopes of seducing the hilariously charismatic Kyle (the UPS guy), played by Liam Reitsma.
On opening night, Reitsma had audiences cheering as he strutted down the theatre aisle and across the stage with his “package”. To borrow a phrase: he ate and left no crumbs. Equally energized throughout were Holly Bradbury, Maraya Franca, and Claudine Paed as Elle’s sassy Delta Nu sisters Serena, Margot, and Pilar, whose enthusiasm continually fuelled the production’s high-octane spirit.
As Warner, Myers appropriately leans into the character’s self-absorbed charm and, despite opening-night microphone issues, delivered pleasing vocals in “Serious”. Jessica Lynn Wong gives Vivienne Kensington real bite, pairing icy attitude with powerhouse vocals, while Matt Ramer brings an imposing intensity to Professor Callahan, establishing the necessary power imbalance between the professor and his students. After time away from Vancouver stages, Julia Ullrich makes a welcome return as fitness queen Brooke Wyndham, radiating girl-boss confidence while jump-roping with impressive stamina. And Rachel Scheibel is wonderfully endearing as justice-seeking law student Enid Hoopes, thanks to her great comedic skills.
Darren Burkett’s set cleverly blends sheer pink curtains with towering wooden staircases, visually merging Elle’s world of pink with Harvard’s old-money New England aesthetic. King makes especially inventive use of the translucent drapery, often closing off sections of the stage to sharpen focus or heighten anticipation. One exciting reveal comes during the dance break in “Positive”, when the curtains part to unveil the ensemble.
Costume designer Carson Walliser successfully re-creates the show’s recognizable looks—from Elle’s predominantly pink wardrobe to Emmett’s oversized corduroy aesthetic—while also injecting fresh flair. A standout addition is a sparkly Chanel-inspired suit for Elle during a climactic moment, which elevates the scene.
Makayla Moore’s choreography, performed with infectious enthusiasm by the cast, supplies many of the production’s biggest highs. One standout is the “personal essay” section in “What You Want”, complete with an onstage marching band, and acrobatics and exhilarating energy from Nicholson and company. Another crowd-pleasing number is the “Bend and Snap,” complete with a full chorus line executing the famous move.
Unlike some recent productions that have updated the show to the present, this version remains firmly set in the early 2000s. As a result, some references—such as nods to MTV—may land less effectively with younger audiences. More noticeably dated, however, is a line in which a Harvard admissions officer criticizes Elle’s group for bringing “ethnic movement” into his office. In comparison, TUTS updated the joke last summer to “Gen Z energy”, earning laughs rather than the awkward silence that accompanied the line here.
One major visual misstep comes during the department store scene. Intended to evoke an upscale retailer like Holt Renfrew, the scene instead resembles a cluttered thrift shop, complete with haphazardly piled ties and a fitting-room curtain that looks more like a garbage bag. The situation becomes further muddled when Emmett rejects one dress shirt as something that would get someone “beat up on my street,” despite it appearing nearly identical to another shirt he had just approved.
Still, these small hiccups don’t diminish the sparkle of Metro’s Legally Blonde, buoyed as it is by a strong band under the leadership of music director Marquis Byrd. Fittingly, the production’s creative choices ultimately reinforce the musical’s central message: there is room for everyone to thrive by embracing what makes them special. Audiences will also appreciate Metro’s transformed lounge space, styled as a pink Delta Nu party room complete with themed cocktails like the “Bend and Schnapps". Go ahead and bend and snap your way to Legally Blonde—you do not want the FOMO on this. 
Related Articles
