Latest news with #LegallyBlonde:TheMusical
Glasgow Times
13-05-2025
- Entertainment
- Glasgow Times
Legally Blonde: The Musical coming to Glasgow
Producers ROYO and Curve have announced that a brand-new Made at Curve production of Legally Blonde: The Musical will have its Scottish premiere at the King's Theatre in Glasgow. The show will run from April 6 to 11, 2026. READ NEXT: 'So so exciting': Signage appears for new pub and diner in Glasgow (Image: Image: Newsquest) Based on the novel of the same name by Amanda Browning and the iconic 2001 film of the same name starring Reese Witherspoon and Jennifer Coolidge, the musical features a book by Heather Hach and original music and lyrics by Laurence O'Keefe and Nell Benjamin. The musical , which will be directed by Curve's Artistic Director Nikolai Foster (Kinky Boots, The Wizard of Oz, A Chorus Line) follows Elle Woods on her transformation from 'It Girl' fashionista to legal ace at Harvard Law School, all in the name of love. Elle must prove she is more than blonde ambition, swap the changing rooms for the courtroom and learn that 'being true to yourself never goes out of style. READ NEXT: Stars of The Sopranos to headline 'must-see' show in Glasgow Curve's Chief Executive Chris Stafford and Artistic Director Nikolai Foster said: 'Legally Blonde is firmly established in the musical theatre repertoire as a contemporary classic and it's a pleasure to be reunited with 'Little Miss Woods' in the 2020s. "Laurence O'Keefe, Nell Benjamin and Heather Hach's electrifying musical about empowerment, equality and the folly of judging a book by its cover remains pitch perfect and as relevant as ever. "We can't wait to share the show with audiences across the UK and Europe after Elle takes over Curve early 2026." Casting and further creatives involved in the production are yet to be announced.
Yahoo
30-04-2025
- Entertainment
- Yahoo
Racine Theatre Guild warns ticket resellers hike up prices
The Brief The Racine Theatre Guild is warning its audience against overpaying for tickets. Tickets to its performance of "Legally Blonde: The Musical" are available on StubHub for $635 a seat. The Racine Theatre Guild's top ticket price is $22. Contact 6 found other ticket reselling websites listing tickets for $119, $69 and $71. RACINE, Wis. - Tickets are available online for hundreds of dollars. Not for Beyonce's global tour, but for the Racine Theatre Guild's upcoming show. With just weeks until opening night, the theater is warning its audience not to overpay for tickets. Local perspective The Racine Theatre Guild, a local nonprofit, knows how to pinch pennies. The people who build the theater's sets are volunteers. Its set pieces have been on stage before, just under a different coat of paint. Its costumes come from thrift stores or the costume stock at Union Grove High School. About 400 people volunteer at the theater every year. It's all part of the theater's commitment to keeping its ticket prices affordable. FREE DOWNLOAD: Get breaking news alerts in the FOX LOCAL Mobile app for iOS or Android "We try to reuse to save money," said Joycelyn Fish, Racine Theatre Guild's director of marketing and development. "We want people to feel like this is a place they can come. They can afford to come here. They can bring the whole family." By the numbers The Racine Theatre Guild's top ticket price is $22. However, Fish was shocked to learn that tickets for its upcoming performance of "Legally Blonde: The Musical" are available on StubHub for $635 a seat. "That's astronomically expensive," said Fish. SIGN UP TODAY: Get daily headlines, breaking news emails from FOX6 News Contact 6 found tickets for the same Legally Blonde shows on other ticket reselling platforms, too, listed for $119, $69 and $71. Tickets are still available through the Racine Theatre Guild's website for a fraction of the cost. "None of it is illegal," said Fish. "It is all totally valid and these people can just price gouge and swindle people out of their money," said Fish. The other side StubHub doesn't control the prices on its website. Its users can list whatever price they choose when reselling tickets. That doesn't mean someone will actually buy them. A StubHub spokesperson told Contact 6: "StubHub is a trusted resale platform where fans can buy and sell tickets safely and securely, with every purchase backed by our FanProtect Guarantee." What they're saying Alex Milovic, an associate professor in Marquette University's marketing department, said it's up to the ticket buyer to shop around. "There are laws around scalping tickets on premises, things around having to show the face value of your ticket. Otherwise, it really is, kind of, you're on your own," said Milovic. "It's really up to the consumer to say, 'How much is too much?'" Dig deeper The Racine Theatre Guild told Contact 6 this is an ongoing program. Recently, it became aware of four people who spent more than $100 a seat to see its Christmas show. "There's no way for me to report (the prices) as fraudulent," said Fish. "There's no way for me to have them take it down." Fish asked StubHub customer service to remove the "Legally Blonde" tickets. It didn't. "It's really on us to try and educate the public," said Fish. "We want to protect our patrons." Contact 6 didn't hear back from the other ticket reselling websites with prices listed well-above $22. What you can do To avoid being overcharged on any ticket, go to a venue's website first. Buying directly from a venue can also save you dozens, even hundreds of dollars in extra fees. The Source Information for this report comes from Joycelyn Fish, Alex Milovic and Contact 6 research into online ticket resellers.
The Guardian
23-03-2025
- Entertainment
- The Guardian
Do we really want Clueless updated to reflect our dark, digital age? Ugh! As if!
Who needs to learn to park? 'Everywhere you go has valet!' Cher Horowitz, teen heroine of 1995 cult movie Clueless, is one of the most spoilt and entitled characters ever to have appeared on screen. She is also, with her irrepressible urge to solve other people's problems and her coltish steps towards self-knowledge, one of the most endearing. Millennial women like me, who grew up watching the movie again at every sleepover, will defend her against all comers. Now, Clueless is the latest millennial coming-of-age movie to hit the West End as a stage musical, opening to critics last week at Trafalgar Theatre. It follows Mean Girls and The Devil Wears Prada, both of which opened in London last year, each built to replicate the success of the repeatedly revived Legally Blonde: The Musical. (Sadly, Jennifer Coolidge has yet to cameo.) All of this would normally be reason for me to get snippy about mindless trends in musical theatre. Instead, I took one of my oldest friends from school and we had a blast. My only regret is that neither of us had the energy to replicate Cher's yellow-and-black tweed miniskirt. Not since Shakespeare's Malvolio first burst on to the stage in yellow cross-garters has an erotomaniac wasp look-alike left such a cultural footprint. Yet it's not clear how long producers can keep pumping these familiar stories through the intellectual property reconfiguration mill. Teen life has changed since the turn of the millennium. The protagonists of Clueless and Mean Girls were always defined by their deft navigation of in-group/out-group bullying, but their real-life descendants now have to handle social media, online misogyny and seemingly constant requests for nudes. Even the heroines of Legally Blonde or The Devil Wears Prada represent young women now entering an increasingly fraught and fast-paced professional landscape. (Imagine Miranda Priestly's after-hours demands if she had access to WhatsApp, or Elle Woods and her law school tutor boyfriend filling out a post-#MeToo relationship-disclosure form.) Most notable, however, is the experience gap between high school pre and post social media. The smartphone shift turns Hollywood's teen movies from contemporary social commentary to retro relic. Of these stage musicals, Clueless has the advantage in incorporating adaptation and adaptability into its story DNA. As every true fan knows, Amy Heckerling's film was a step-by-step recreation of Jane Austen's Regency novel Emma, with the eponymous Surrey heiress reincarnated as the queen bee of a Beverly Hills high school. Austen's Emma had to learn that she couldn't make illegitimate charity girl Harriet Smith any happier by crafting her into a social climber; Cher, played by a glowingly blond Alicia Silverstone, learns the same lessons on awkward school newcomer Tai (Brittany Murphy). Heckerling's great success – alongside the zinging one-liners – was to hit each of Austen's narrative beats as her protagonist makes the same mistakes. Changes are modernising but not structurally significant. Where Cher's desirable classmate Christian turns out to be gay, his equivalent in Austen's novel, Frank Churchill, is unavailable to her because he is secretly engaged to another woman. In both cases, our heroine learns the hard way that not every man is hers for the taking. Clueless, The Musical has had mixed reviews. As critics have noted, the sets are underwhelming for a West End show; the songs, crafted by KT Tunstall to mimic the original soundtrack, don't always work. Yet for many millennials, Clueless, The Musical will deliver a reverie of 90s nostalgia so joyful, it has the power to distract us from worrying about our children's toxic schoolrooms. That's due in part to the perky central performance by Emma Flynn. It's also due to one essential production decision. At no point does anyone involved in this production try to kid us that the world has changed since the 1990s. Cher and best friend Dionne still speak on brick mobile phones; when someone brings a mobile to the dinner table, it's a shocking novelty, not a depressing norm. Sign up to Observed Analysis and opinion on the week's news and culture brought to you by the best Observer writers after newsletter promotion There's something profoundly comforting about this model for teenage life. Secondary school for me could be vicious, competitive and cruel, but each day when I came home I had the security of shutting the door behind me and leaving the social squabbling outside. For teenagers today, that bustling and bullying seems to seep into the domestic space, along with deepfake porn, medical misinformation and Andrew Tate. Clueless, The Musical opened in London just as Adolescence hit our TV screens, the darkly topical story of 13-year old Jamie lost in online misogyny. Next to damaged boys like Jamie, Cher's braggish suitor Elton is a pussycat. By contrast, when Mean Girls: The Musical opened in London last year, it tried to tell a 2004 story with 2024 technology. In Meet The Plastics, an introductory number for the story's frostiest girl-gang, anti-heroine Regina George boasts that 'the filters you use all look just like me'. We're in the world of Instagram and Snapchat and we're told these are the cruellest teenagers known to man. Yet, while they still construct a pen-and-paper 'burn book' of rumours about their classmates, not one Photoshops their victims into pornography. I do appreciate that delving fully into the world of digital sex crime might not make for the upbeat story most audiences have come to see in the West End. It does speak to the difficulty of remaking analogue tales of adolescence in a digital world. This week, Mean Girls: The Musical announced closing notices. It's probably relevant that I couldn't remember a single catchy song, but it also seemed to fall irredeemably between two stools. Was it a tale of adolescence past, or present? The issue of social media isn't the only challenge that these teen comedies dodge. Both Mean Girls and Clueless excise any reference to a character offending a protected class, which means we lose the epic description of Christian as a 'disco-dancing, Oscar Wilde-reading, Streisand ticket-holding friend of Dorothy'. (Surely, what matters in the movie is that Cher immediately accepts him as a friend?) Cher's most shameful moment no longer includes an expression of racism towards her housekeeper, perhaps because a modern audience would find it harder to accept her atonement. The result is a rose-tinted, effervescent show that avoids any relationship with modern reality. Our nostalgia for 90s films is a nostalgia for a simpler teenage time. At some point, however, we can no longer keep rehashing the same teen stories. Some darker musicals have begun to explore growing up online: Dear Evan Hansen and Be More Chill come to mind. Are we ready for Euphoria: The Musical, in the spirit of the cult TV series about school-age pill-popping and sexual violence? I'd rather stay in the spirit of 1995. Kate Maltby writes about theatre, politics and culture
