Oh my God you guys! Did you hear?! Legally Blonde is strutting into the Kings Theatre this week to give us all the pep talk we need! Full of snaps, girl-power and a whole lot of pink – we follow Elle Woods as she chases her heart all the way to Harvard Law-only to discover the road ahead is far from the fairy-tale she imagined. Playing Glasgow King’s Theatre until this Saturday!
Rayo and Curve’s production offers a lot of highs that make this an enjoyable night out but it does lack in some areas. Creatively, it lacks in design and choreography, but that’s not to say Hill did all they could with what they had. Tom Rodgers costume design felt right for the Gen Z crowd but took away from the 90’s/00’s aesthetic that we have come to know from the film and past productions. Moving the story into 2026 felt unnecessary, but the young audience members seemed to approve. Elle’s costumes in every scene were exquisite and displayed her personality and sense of style in each appearance.
Our leading lady playing little Ms Woods, Elle is West End performer and TV Star Amber Davies. From the very first song, Davies established herself as a commanding presence with a true powerhouse voice. Rarely leaving the stage and shouldering the majority of the musical numbers is no small feet, yet she handles it with apparent ease, effortlessly showing off her impressive vocals. With stunning vocals being the positive, the negative is that Davies does not embody the character of Elle Woods. The humour was missing completely, those little soft moments that make you root for the underdog and the likability were all lacking. There were small flickers of the characterisation appearing when sharing the stage with fellow cast members but it never fully emerged. This feels like a case of miscasting. While Davies undoubtedly possesses a fantastic voice, leading a classic production of this calibre with a strong female lead at the helm, demands far more than vocal strength alone.
For this performance, the role of Emmett Forest was played by James Lim. Emmett is the geeky, hard-working law student who takes Elle under his wing to help her prove herself to her peers. Lim’s take on Emmett was what you would expect: kind-hearted, likeable and easy on the eye. With a beautiful voice that really showcases during the ending of Chip on my Shoulder and Take it Like a Man, Lim does well to match the strength of Davies vocals. He delivers a compelling Emmett, keeping the audience invested in his journey and grounding the intimate scenes with Elle in genuine chemistry.
As a third of the Greek Chorus and Delta Nu member, Hannah Lowther plays the perky and upbeat Margot. Lowther’s impressive energy and personality shines on stage through every number she is in. She never overshadows her fellow cast members, instead sharing the stage with confidence and professionalism. Her vocal performance is strong throughout, though the nature of the arrangements offers few opportunities for clear standout moments. Lowther’s assured handling of the choreography further enhances her stage presence, delivering several well-judged comedic moments.
The kind-hearted and charismatic Paulette is portrayed by the talented Karen Mavundukure. Paulette is the friend we all need in moments of crisis and Mavundukure brings the warmth and reassurance we associate with her. Her funny and quirky moments bring much-needed laughs to the audience and everyone is cheering when she gets her happy ending. Mavundukure’s vocal talent is the undeniable highlight, her powerful voice leaving the audience completely awed.
Adam Cooper brings a suave sophistication to Professor Callahan, commanding the stage and interacting confidently with his fellow cast members. He conveys the charm and intelligence the role demands, earning our respect even as the character ultimately invites disdain. Vocally, while assured and controlled, his performance lacks the power needed to fully elevate “Blood in the Water”.
Jamie Chatterton takes on the role of Warner Huntington III, Elle’s boyfriendturnedex and the supposed love of her life. As the confident, privileged boy of Elle’s dreams, Chatterton delivers a solid performance, bringing plenty of swagger and strong vocals to the role. However, what is missing are the subtler nuances that would make Warner both charming enough to engage the audience and egotistical enough for us to root wholeheartedly for the other guy.
As Vivienne, the preppy and polished new girl on Warner’s arm, Annabelle Terry is thoroughly engaging in the role you love to hate. She delivers the requisite sharp edge with confidence, while allowing welltimed comedic moments to shine through when things don’t go her way. Her acting is consistently strong across every scene, and vocally she truly stands out—particularly in the soaring final notes of the Legally Blonde Remix, which she delivers with impressive control and flair.
Jocasta Almgill appears as fitness guru Brooke, bursting into the second act with the show’s iconic skippingrope workout—one of the production’s most demanding choreography sequences. She handles the routine with impressive stamina and skill, confidently taking centre stage throughout. Despite limited stage time, Almgill makes a strong impression, commanding every moment she has and delivering assured vocals.
Completing the Greek Chorus are Rosanna Harris as Serena and Remi Ferdinand as Pilar. As the lead of the trio, Harris brings an infectious confidence and energy that easily matches Lowther’s, capturing the Malibugirl attitude and closeknit friendship dynamic with ease. Her performance is vocally compelling and full of character. Ferdinand rounds out the trio, matching the energy and enthusiasm, and while her moments are less individually distinctive, her strong dancing and assured vocals make her an integral part of the group.
Richmond’s set design worked well for a touring production keeping the bigger spaces with minimal elements. The small versions of the Delta house and Harvard Law School were a fun and quirky way of setting the scenes when we moved through the locations which worked very well. When entering into the world of Harvard Law if felt like we were in an open studio with a doorway and bookcase placed in the back. A different approach could have created a fuller sense of place and drawn us more convincingly into the world, but the concept ultimately failed to land. Elle’s college dorm was impressively realised, rich in detail and unmistakably authentic. Crammed with vintage-style pink cases bursting at the seams with clothes (apparently unpacking was optional), it was the only set that fully transported the audience into her world.
Ben Cracknell’s lighting design was used to great effect, enhancing the production’s bright, upbeat moments – such as the Greek chorus entrances and Elle’s inner monologues-while also sensitively supporting its softer, more sombre scenes.
Music and lyrics by Laurence O’Keefe and Nell Benjamin do not fail to get the audience laughing and moving with the standout hits such as ‘Oh My God You Guys’ and ‘So Much Better’. The lyrics have been modified and updated to reflect the generational change but do not stray too far from the originals. Some updated aspects are most definitely needed but others felt like removing the edginess of the writing and with that some of the original humour was lost.
By not straying too far from the original production, Cerys McKenna’s musical direction preserved the strength of an already outstanding score. Any major deviations might have left fans longing for the Broadway version, so hearing the music delivered with such polish and West End finesse was hugely satisfying.
While this was not the strongest production of Legally Blonde I’ve seen, it still retains much of the charm that makes the show so beloved. As a fan of the musical, the casting of the lead role is crucial, and in this instance it didn’t quite feel like the right fit. The production has a clear touring feel, with a paredback set and simplified choreography, but that doesn’t mean it leaves audiences cold. In fact, it still sends you out wanting to revisit the soundtrack, buoyed by a heartfelt story about defying expectations and proving others wrong—one that remains especially relevant today. Families will enjoy it, and it certainly makes for an enjoyable night out.
Tickets available here – https://www.atgtickets.com/shows/legally-blonde/kings-theatre-glasgow/
Photography – Matt Crockett
Theatre Scotland 
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