Arts Editor Avery Baumel reviews CMTS’ production of Legally Blonde. 

Led by the stellar pair of Kennedy Eagleton (CC ’27) as Elle and Is Perlman (CC ‘25) as Emmett, the cast of Columbia Musical Theater Society’s (CMTS) Legally Blonde had an infectious joy and camaraderie that couldn’t be dimmed even by tech issues at Saturday’s matinée.

The story follows Elle Woods, sorority president and fashion merchandise major at UCLA, who chases her ex-boyfriend, Warner, to Harvard Law to try to win him back. There, she discovers the inner strength to forget Warner and forge her own path through law school and life, ultimately winning a trial through her unique combination of legal smarts and fashion knowledge. This production was directed by Miranda Paiz (BC ‘25), with music director Mimi Gillies (CC ‘25), technical director Sophie Simons (BC ‘25.5) and producers Tosin George (CC ‘27) and Lúcia Towne (BC ‘26). 

Eagleton as Elle was truly a star, with an embodied confidence that constantly drew my focus to her. Her powerful vocals combined with her mix of bubbly fun and serious dedication created a spectacular presence. It’s an iconic role, and one that Eagleton took ownership of, giving her Elle a consistent, grounded strength that was wonderful to watch. Perlman was similarly excellent, playing Emmett’s thoughtful, caring nature very well. Most memorably in “Chip on My Shoulder” and “Legally Blonde,” their Emmett was sweet and emotional, both a perfect counterpoint to Eagleton and a notable presence on their own.  

Paiz’s directorial choices centered the show’s unabashed joy. The show’s several high-energy group numbers were nicely tempered with lighter stagings for quiet scenes. She handled the show’s nuances well; as one example, “Gay or European,” a song that can toe the line between funny and controversial depending on how it’s played, saw the cast in their role as court observers waving Pride flags, and the following transition featured two cast members running across the stage with a large Pride flag and a transgender flag. 

Paiz and the creative team’s casting choices also reflected a thoughtful understanding not only of the actors’ talents, but also of their interpretations of the show. Having Elle played by a Black actor changed the dynamic of her acceptance into Harvard Law School, especially the usually-funny and now-weighted justification of “Multiculturalism!” that one admissions officer suggests for admitting Elle. Similarly, having a nonbinary actor play Emmett let the show’s thematic understanding of other-ing and self-acceptance take on new symbolic depth. When Perlman took off their shirt to raucous applause in “Take It Like A Man” to reveal top surgery scars, then changed into a buttoned suit jacket without a top underneath, the result was a magnificent reframing of the song’s lyrics, which Perlman also quoted in their program bio: “The outside is new / But now it reflects / What’s already in you,” Elle sings to Emmett. 

The rest of the cast was also lovely. Michael Kitt (CC ‘28) captured Warner’s pompous self-confidence well, though he couldn’t quite believably subdue Eagleton in “Serious.” Skylar Hudson (CC ‘25) nailed the balance of Paulette’s combination of over-the-top character and genuine care and love—I would follow any advice Hudson’s Paulette gave! Hudson also had hilarious chemistry with Drew Kelly (CC ‘26) as Kyle, whose delivery of his full-of-subtext lines were perfect. 

Cooper Orio (DSI ‘25) was outstanding as Professor Callahan, who was laugh-out-loud funny executing choreography with a cane (caneography!) in “Blood in the Water” with a deadpan, sinister gaze. Mia Shih’s (BC ‘26) choreography largely stayed under-the-radar, complementing but never overwhelming the vocal and acting talents of the cast. In “Blood in the Water,” which also featured a tap sequence, and the jump-rope sequences of “Whipped Into Shape” (featuring more impressive vocals, this time while jumping rope, by Carrie Crespino (BC ‘26) as Brooke), her choreography enjoyed a rightful spotlight.

With such a wonderful cast, it was disappointing that tech issues often made it difficult to fully enjoy the show. The sound balance left the (incredible!) pit orchestra drowning out the singers, even sitting near the stage on the opposite side from them. Coupled with microphone issues that left some actors almost completely inaudible, this made for a difficult listening experience. For the most part this wasn’t a major problem, but it did mean we were straining to hear at several exciting moments, like the fast-paced lyrics of Elle’s LSAT prep with sorority sister Kate (Abby Svelan (BC ‘25), who sounded lovely even without amplification). 

Much of the rest of the technical direction was excellent. Lighting designers Olivia Barbierei (BC ‘26) and Tesslyn Kou (BC ‘27) lit the backdrop like the Irish flag for Paulette’s “Ireland,” which made my entire section burst out laughing. The costumes (Laila Diaz (CC ‘25) and Thais Velazquez (BC ‘26)) were absolutely stunning, especially Elle’s beautiful wardrobe. The sets (Yuxi Rui (SEAS ‘27))—if sparse— were filled with keen-eyed details, like portraits of Harvard alums for Harvard, or a pink mood-board-like set of posters for the Delta Nu house. The transitions were sometimes labored, but not distractingly so, and the sustained energy of the cast more than made up for it. 

It’s hard not to enjoy Legally Blonde, with its killer combination of gloriously upbeat songs, the villainous figure of Professor Callahan, and the dreamy, you-can-do-it message of Paulette’s songs and Elle’s journey. CMTS nailed the charm and the heart of the show in this production.

Program via author.