Pink, packed and proud: ‘Legally Blonde’ dazzles on closing night
Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.
This review contains spoilers.
The line snaked from the steps of Memorial Auditorium, past Lathrop and curled around the walls of the Lane History Building. Students, parents and a guy standing behind me telling his girlfriend he decided to cancel golf tomorrow, were wearing pink sweaters, pink spandex, pink wool ribbed cardigans and pink rimmed sunglasses.
“Legally Blonde: The Musical” tells the story of Elle Woods, a young woman who enrolls at Harvard Law School to win back her ex-boyfriend and discovers her own legal acumen along the way. Inspired by author Amanda Brown’s Stanford Law experience (and the 2007 hit film), “Legally Blonde” returned home to the Farm this past weekend. Stanford Ram’s Head presented a three-night run at Memorial Auditorium, with closing night on April 19.
A lighting malfunction on closing night delayed entry 45 minutes past the scheduled start. Once inside, there was still a wait, but crew and performers entertained the crowd by bouncing a four-foot wide pink beach ball around the audience and dancing to crowd favorites like ABBA’s “Dancing Queen.”
Memorial Auditorium, large and imposing with its high ceiling, orchestra and balcony sections, is challenging to fill. Every production, from Levin’s Family Weekend speeches to Gaieties extravaganzas, has sought to bridge the gap between performer and viewer — a task the “Legally Blonde” company successfully accomplished.
When the auditorium lights finally dimmed, the show began with the first number: “Omigod You Guys.” The wait had been infuriating, but “Omigod You Guys” was worth it. The Delta Nus (Elle’s sorority sisters) delivered a hilarious performance to kick off the show and continued to interject their absurdly cheerful chorales throughout.
Sam Boeschen ’25 was detestable as Elle’s ex-boyfriend Warner (maybe overly so), and Bryan Defjan ’25 portrayed Professor Callahan with satisfying villainy.
Maya Desmukh ’27 impressed vocally and comically as the New Jersey-Italian hairstylist Paulette. (Why was she so obsessed with Ireland?) The nonsensicalness charmed the entire audience, and Desmukh’s heart had us cheering her on.
Alexander Kim ’28 nearly stole the show as Emmett with his boyish charm and stand-out vocals in “Chip On My Shoulder.” Although the humble character played slightly saccharine at times, his chemistry with Elle still felt genuine and warm, lending heart to the musical’s central love story.
Brooke Besikof ’25, whose Elle Woods performance anchored closing night with stellar acting, vocals and cheeriness, was an undisputed star. From my view in the back of the orchestra, Besikof really looked a little like Reese Witherspoon (who portrayed Elle in the film adaptation) and was reminiscent of Broadway’s original Elle, Kristin Chenoweth.
Katie Savage ’26 was energetic and memorable as Brooke Wyndham, the fitness empress accused of murder. The second act started off strong thanks to her opening number, “Whipped into Shape”.
The show was marked by consistently powerful vocal performances and comedic highlights — including Uche Ochuba ’24 as the UPS man, who talked about his “package” while holding his cardboard box… near his box.
With its attention to dynamics and accented hits, the pit orchestra sounded vibrant and larger than its compact setup suggested. Although backstage movement was occasionally visible, the set design creatively transformed spaces: turning a courtroom into a bathroom crime scene, using familiar Stanford bed frames to evoke Elle’s dorm. The lighting design was versatile, sometimes highlighting comedic bits like in “Gay or European?” or setting a heartfelt, almost pensive, tone for a moment when Elle doubts herself in the song “Legally Blonde”.
After the show, Brown and playwright Heather Hach held a warm, insightful Q&A that discussed the storytelling process and bringing Elle to life on the stage. Brown attended Stanford Law in 1993 but dropped out after her first year to focus on writing. Elle’s character was based on essays she wrote as a student and later developed into a novel.
Brown and Hach met in 2006 for a production of “Thoroughly Modern Millie”, and Brown knew then Hach was the one for the job of adapting “Legally Blonde.” Hach commented that Brown’s spirit in the novel was so present, and there was a synergy between the two of them so it was “very easy to remain her friend.”
Since the movie came before the musical, Brown and Hach discussed what should change between the adaptations while honoring the original source material. Ultimately they found the greatest opportunity in further developing Emmett and Elle’s relationship for the stage.
Brown and Hach both felt that Elle’s endless optimism was inspiring; Hach stated she’s a better person for having been with Elle Woods for those four years and hopes that we were able to feel the same as we stayed with her the past two hours.
As for the book itself? Of course the manuscripts were printed on pink paper. They were also scented, just like Elle’s resume — although Brown admitted the scent of the copy ink and the perfumed pages didn’t always go well together.
Truly a testament to the source material, Ram’s Head director Vivana Iglesias ’26 paid a high quality tribute to this beloved classic. Elle Woods, along with the entire cast and crew, make you feel proud to wear pink.
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