As an NSTA representative, I had the honour of watching Ashfield School’s production of Legally Blonde The Musical on Thursday 11th December 2025. Under the expert guidance of Director and Production Manager Mr Sluman, alongside the creative vision of choreographers Miss Brooks and Mrs Jackson and the musical direction of Mr Beachell, this school musical reached an exceptionally high standard. It was immediately clear that an enormous amount of time, dedication, and passion had gone into rehearsals, with performances and vocals that genuinely rivalled professional West End standards.
Legally Blonde The Musical follows the journey of Elle Woods, a fashion-loving sorority president who defies expectations by enrolling at Harvard Law School to win back her ex-boyfriend. Along the way, Elle discovers her own intelligence, resilience, and self-worth, challenging stereotypes and proving that determination, kindness, and authenticity can triumph in even the most intimidating environments. Packed with high-energy numbers, sharp comedy, and a powerful feminist message, the musical remains as relevant and inspiring today as ever.
From the moment I arrived, I was made to feel incredibly welcome by Front of House and Marketing Manager Miss Roach, alongside the rest of the front of house team: Abigail, Toby, Caitlin, Rosie, and Brooke. As the audience entered the venue, there was a tangible sense of excitement.
The set design and construction by Mr Carpenter were fantastic, complemented beautifully by the lighting design, operated with precision by Finn, and the sound team, with assistants Scott and Will ensuring clarity throughout. The stage design featured a central, multi-level structure with stairs and columns, allowing for seamless and flexible scene changes. This clever design supported the fast pace of the show and kept the action flowing effortlessly. The contrast between Elle’s vibrant, pink-filled world and the sharp, monochrome seriousness of Harvard Law was visually striking and helped to reinforce the musical’s themes. Props were used imaginatively and effectively, with the painting team – Beatrice, Felicity, Lillie, Maisy, and May – deserving special praise for their attention to detail. Costumes, overseen by Mrs Boulton, Mrs Hopkins, Mrs Hunt, and Scarlett, were vibrant, stylish, and perfectly suited to each character.
The opening number, ‘Omigod You Guys’, burst onto the stage with infectious energy and instantly set the tone for the entire production. The cast’s enthusiasm was electric, and it was immediately clear that the audience was in for a treat. The number showcased not only strong vocals but also confident choreography and a unified ensemble.
Cassie’s portrayal of Elle Woods was outstanding from start to finish. Her narration and storytelling were delivered with clarity, confidence, and warmth, and her energy never dipped. Cassie’s comic timing, facial expressions, and reactions were flawless, and she embodied Elle’s journey with authenticity and charm. Her performance in ‘What You Want’ was a defining moment early in Act One, making it clear that the production was in exceptionally safe hands. Ollie delivered a commanding performance as Callahan, particularly in ‘Blood in the Water’, where his clear diction, powerful vocals, and authoritative presence were genuinely breathtaking. It was easy to forget that he was not a professionally trained West End performer. Georgia was equally compelling as Paulette, delivering ‘Ireland’ with heartfelt emotion that left me with tears in my eyes. Her comedic timing was spot on, and her characterisation was endearing and sincere.
The supporting cast were no less impressive than these exceptional leading actors. A standout moment came in Act Two when Charlie entered as Kyle. The audience erupted with laughter, and his physical comedy and delivery of innuendo were hysterical, setting the scene perfectly for ‘The Bend and Snap’. Lacie-Mai’s performance as Brooke Wyndham in ‘Whipped Into Shape’ was another major highlight. The choreography was sharp, demanding, and flawlessly executed, with the striking orange prison costumes adding to the visual impact. This number truly raised the bar after the interval.
The choreography by Miss Brooks and Mrs Jackson was superb throughout. The sheer volume of routines and their complexity made it all the more impressive that the cast executed them with such precision and confidence. Transitions were slick, with minimal blackouts, keeping the pace fast and engaging.
Musically, the production was delivered with precision and emotional depth under the direction of Mr Beachell and Mr Sluman. Particularly impressive numbers included ‘Gay or European’, which had the entire audience in stitches and showcased the ensemble’s impeccable timing and character work. The fantastic vocal coaching from Mrs Guy was evident throughout, and she should be immensely proud: it was bittersweet to learn that this would be her final production at Ashfield School before retirement. The live band also deserves special recognition. With Adam and Roger on keys, Anna and Catherine on reeds, Isaac on trumpet, Bo on trombone, Isobel on guitar, Mr Squires on bass, and Tom on drums, the music was tight, energetic and polished, elevating the entire production.
Ashfield School’s Legally Blonde was far more than a school production; it was a celebration of collaboration, creativity, and commitment. Every performer remained fully in character throughout, with strong still images, expressive gestures, and believable reactions. Vocally, the cast was exceptional, with particularly outstanding diction and clarity. This production transcended expectations and left a lasting impression. It highlighted the transformative power of drama in education and showcased the extraordinary talent, teamwork, and dedication of both students and staff at Ashfield School. Performances like this remind us why supporting school theatre is so important – because within these productions are the stars of the future, already shining brightly!
National School Theatre Awards
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