Legally Blonde hits London – 5th December

Omigod you guys – from Broadway to the West End, it’s finally here:

The Times’ Playlist magazine had a very pink looking cover wrap this weekend, shouting loud and proud that Elle is coming to town.

I’m a huge fan of the movie – that low-budget, enormously profitable surprise smash hit of 2001, that grossed $141m worldwide and catapulted a young Reese Witherspoon firmly into the A-list (she went on to command $15m for the sequel). My girlfriends share the love of the Blonde, but arguably I am the most ardent fan amongst us.

Hence why, on our New Year break in New York the year before last, when we were searching Broadway for a show that we all wanted to see, I somehow ended up winning the battle and dragging all four of us along.

Safe to say, they may hate to admit it, but we all had a total blast.

The biggest success for me – I guess as every musical should boast – was the music (rightly so, the Original Score earned the show one of its seven Tony nominations). The soundtrack, in lyric and arrangement, perfectly captures the exuberant, confident fun and frolics of Elle as she careers through the Harvard Law application process to win back her man. From the explosive opening Omigod You Guys to the empowering  So Much Better (Elle’s first victory over Warner at Harvard). The bridge of the piece (the titular Legally Blonde) comes when Elle admits defeat and decides to pack her bags back to LA - one of the only slow numbers of the show, it culminates in a powerful duet with Emmet.

The Broadway cast in action, led by Laura Bell Bundy

A fairly eclectic mix of a cast are bringing us the West End version. The naturally comedic Sheridan Smith (TV’s Gavin and Stacey, Two Pints of Lager…) takes the lead, and from the video preview on the show’s website, we’re assured she kicks ass with some very strong vocals. Boy band Blue’s Duncan James (having already proved his worth in the West End from a stint in Chicago) plays the smooth, gorgeous, arrogant object of Elle’s affections, Warner – while her emerging love interest Emmet is played by Canadian-born Alex Gaumond (fresh from We Will Rock You as Galileo). Two other very promising castings can be found in Jill Halfpenny as Paulette and the wonderful Peter Davison as Professor Callaghan.

Fairly obviously, it’s decidedly a show for fans of the movie, girls and those who are willing to suspend and notion of serious theatre for one night of unabashed silliness. It’s very pink, very blonde and never claims to be anything else – but if you are not enthusiastically tapping your foot and wholeheartedly rooting for Elle by the key change of the final reprise, I’d be surprised.

Tickets are on sale now, with previews starting towards the end of the month. Naturally I’ll be taking a front seat to see if the West End measures up to Broadway – and no doubt I’ll be dragging the girls along again. Only this time, they know they’ve got a guaranteed fun night ahead of them.

And if you’re not convinced, at least get your hands on the soundtrack. I personally promise it will get you dancing round your bedroom with a hairbrush.

A Generation X reading of Dangerous Liaisons

Two radically different novels, written over two centuries apart. And yet I found a commonality yesterday that I felt was worth sharing.

In Helen Constantine‘s introduction to the Penguin Classics edition of Laclos‘ most notorious and celebrated work, she touches on the aristocratic social pressures felt by Valmonte and Merteuil that prevent them from succombing to any ‘real’ emotion throughout the entirety of the novel. She summarises thus:

In that debased society love is viewed as a failing, a weakness, and something to be avoided at all costs.

Valmonte’s connection with Tourvel is the closest we get to raw emotion (for the pop culture translation, that would be the Sebastian/Annette, Ryan/Reese pairing in the Cruel Intentions adaptation), but he is forced to deny himself even that due to the restrictions imposed upon him by his upbringing and continued engagement with polite society.

In fact, this was possibly the greatest moment in the 1999 remake – the emtionally charged raw battle between Sebastian and Annette in her bedroom when he tears himself away, all the while belying his true feeling for her by the fact he can hardly stand the deception any longer.

© Columbia Pictures 1999

What did this remind me of? A couple of weeks ago I picked out a few of Coupland’s glossary definitions that he used to define his era of a nihilistic void to share on this very blog. And two of these, when combined together, exactly mirror Valmonte’s struggle, providing a deeper exploration of Constantine’s statement above:

1) Derision Preemption: a life-style tactic; the refusal to go out on any sort of emotional limb so as to avoid mockery from peers

2) The Cult of Aloneness: the need for autonomy at all costs, usually at the expense of long-term relationships, often brought about by overly high expectations of others

The former, when applied to Valmonte’s eighteenth century aristocratic setting, makes perfect sense – he is physcially unable to admit any form of emotional attachment for fear of derision from his peers, largely fearing Merteuil’s reaction (which is indeed mockery combined with a healthy dose of jealousy).

Valmonte’s expendable is his relationship (or potential relationship) with Tourvel, additionally fuelled by unrealistic expectations of her heralded by his previous relations with Merteuil. For Valmonte, no one will ever match up to Merteuil (he holds her somewhat on a pedastal), and in any case, his desperate need for complete independence from any form of attachment prevents him from committing to any kind of meaningful relationship with Tourvel regardless.

So what can we draw from this parallel? Was Laclos simply miles ahead of his time in his awareness of basic human emotion? Or has it taken 200 years for the inclinations and emotional withdrawal of eighteenth century French aristocracy to filter down to mass society? Or, and this is the one that I like the most, were both writers simply finely tuned to a fundamental of human nature?

Modern pop-psychology and relationship advisers, the likes of Greg Behrendt et al, would have us believe that the non-committal emotional ‘retardedness’ that both Coupland and Laclos touch on here is almost exclusively (or at least primarily) a male outlook. But surely the Marquise de Merteuil puts forward just as strong an example as Valmonte? Coupland’s definitions were not solely ascribed to Andy – would Claire have not sympathised in the same way? In other words, the girls can be just as bad as the boys – throw in a manipulative streak and possibly even worse.

If such principles can cross centuries, cultures and oceans, permeating time and history just as fervently as the pop culture consciousness, then surely there must be something in it?

And just as an endnote – Blair and Chuck = Katheryn & Sebastian? Yes even Gossip Girl has jumped in on this particular battle of the sexes.