Theo Ubique leads Non-Equity Jeffs with 14 noms

Nominations for the 2012 Non-Equity Joseph Jefferson awards (better known simply as "the Jeffs") were announced today.  The Non-Equity Awards honor excellence in Chicago theatres not under an Actor's Equity union contract.  Winners will be announced on June 4.

Rogers Park-based Theo Ubique leads the pack with 14 nominations. Eight of the nominations are for their current hit production, "The Light In the Piazza" (extended through June 23).  The other six nominations were for a production of  "Pump Boys and  Dinettes" earlier this season.

The 2012 nominations also recognized the strong seasons at Griffin Theatre Company, the newly revived Bailiwick Chicago, and the Mary-Arrchie Theatre Company. 

Griffin Theatre scored 11 nominations for two teen-based works: six for “Punk Rock,” a British play about contemporary issues of high school studens; and five for “Spring Awakening,” a local production of the Tony-award winning musical about teenage repression in 19th century Germany. 

Bailiwick Chicago scored 10 nominations, including five for “Passing Strange,” a rock musical about an African American’s artistic self-discovery, and five for “Violet,” a musical about a disfigured woman on a journey of healing. 

Mary-Arrchie Theatre Co. scored eight nominations:  four for their production of “Superior Donuts,” the Tracy Letts play about an Uptown donut shop; and four for  the soon-to-be-a-major-motion-picture ”Red Light Winter, about a love triangle.

 The Hypocrites’ adaptation of the “Sophocles: Seven Sicknesses” cycle garnered six nominations, tying with Griffin’s “Punk Rock” for most nominations of a non-musical.

A complete list of the 2012 Non-Equity Jeff Awards Nominees

Production — Play"Opus" — Redtwist Theatre
"Punk Rock" — Griffin Theatre Company
"Red Light Winter" — Mary-Arrchie Theatre Co.
"Sophocles: Seven Sicknesses" — The Hypocrites
"Superior Donuts" — Mary-Arrchie Theatre Co.
"The Word Progress on My Mother's Lips Doesn't Ring True" — Trap Door Theatre

Production — Musical"The Light in the Piazza" — Theo Ubique Cabaret Theatre
"Passing Strange" — Bailiwick Chicago
"Pump Boys and Dinettes" — Theo Ubique Cabaret Theatre
"Spring Awakening" — Griffin Theatre Company
"Violet" — Bailiwick Chicago

Director — PlayJonathan Berry — "Punk Rock" — Griffin Theatre Company
Seth Bockley — "The Ugly One" — Sideshow Theatre Company
Jason W. Gerace — "Opus" — Redtwist Theatre
Sean Graney — "Sophocles: Seven Sicknesses" — The Hypocrites
Halena Kays — "Six Characters in Search of an Author" — The Hypocrites
Blake Montgomery — "Moby-Dick" — The Building Stage

Director — MusicalFred Anzevino — "Pump Boys and Dinettes" — Theo Ubique Cabaret Theatre
Fred Anzevino and Brenda Didier — "The Light in the Piazza" — Theo Ubique Cabaret Theatre
Jonathan Berry — "Spring Awakening" — Griffin Theatre Company
Lili-Anne Brown — "Passing Strange" — Bailiwick Chicago
Elizabeth Margolius — "Violet" — Bailiwick Chicago

Ensemble"Moby-Dick" — The Building Stage
"Opus" — Redtwist Theatre
"Pump Boys and Dinettes" — Theo Ubique Cabaret Theatre
"Punk Rock" — Griffin Theatre Company
"Shakespeare's R&J" — Idle Muse Theatre Company
"Sophocles: Seven Sicknesses" — The Hypocrites

Principal Actor — PlayDan Behrendt (Matt) — "Red Light Winter" — Mary-Arrchie Theatre Co.
Joey DeBettencourt (William Carlisle) — "Punk Rock" — Griffin Theatre Company
Brian Grey (Ned Lawrence) — "The Oxford Roof Climber's Rebellion" — Caffeine Theatre
Peter Oyloe (Kjell) — "Elling" — Redtwist Theatre
Brian Plocharczyk (Stephen) — "Farragut North" — Stage Left
Andrew Burden Swanson (Gerry) — "The Last Duck" — Jackalope Theatre Company
Preston Tate, Jr. (Franco Wicks) — "Superior Donuts" — Mary-Arrchie Theatre Co.

Principal Actor — MusicalJayson "JC" Brooks (Narrator) — "Passing Strange" — Bailiwick Chicago
Courtney Crouse (Jim) — "Pump Boys and Dinettes" — Theo Ubique Cabaret Theatre
Steven Perkins (Youth) — "Passing Strange" — Bailiwick Chicago
Creg Sclavi (Bobby Strong) — "Urinetown the Musical" — Circle Theatre
Chuck Sisson (Aimable Castagnet) — "The Baker's Wife" — Circle Theatre

Principal Actress — PlayJacqueline Grandt (Agnes) — "Bug" — Redtwist Theatre
Katherine Keberlein (Jan) — "Fifty Words" — Profiles Theatre
Melanie Keller (Sonya/Sarah) — "East of Berlin & The Russian Play" — Signal Ensemble Theatre
Eileen Niccolai (Lady) — "Orpheus Descending" — Shattered Globe Theatre
Stacy Stolz (Anne) — "Assisted Living" — Profiles Theatre

Principal Actress — MusicalHarmony France (Violet) — "Violet" — Bailiwick Chicago
Kelli Harrington (Margaret Johnson) — "The Light in the Piazza" — Theo Ubique Cabaret Theatre
Rachel Klippel (Clara Johnson) — "The Light in the Piazza" — Theo Ubique Cabaret Theatre
Supporting Actor — Play
Barth Bennett (Jefferson) — "A Lesson Before Dying" — Lincoln Square Theatre
Eric Burgher (Mervyn) — "A Behanding in Spokane" — Profiles Theatre
Dereck Garner (Davis) — "Red Light Winter" — Mary-Arrchie Theatre Co.
Ryan Heindl (Chadwick Meade) — "Punk Rock" — Griffin Theatre Company
Aaron Kirby (Adam) — "Dark Play or Stories for Boys" — Collaboraction
J.P. Pierson (Bunce) — "One Flea Spare" — Eclipse Theatre Company

Supporting Actor — MusicalJustin Adair (Fabrizio Naccarelli) — "The Light in the Piazza" — Theo Ubique Cabaret Theatre
Michael Kingston (Charlemagne) — "Pippin" — Bohemian Theatre Ensemble
Evan Tyrone Martin (Flick) — "Violet" — Bailiwick Chicago
Jeremy Rill (Count Carl-Magnus Malcolm) — "A Little Night Music" — Circle Theatre

Supporting Actress — PlaySasha Gioppo (Christina) — "Red Light Winter" — Mary-Arrchie Theatre Co.
Vanessa Greenway (Rosaura/Astrea) — "Life Is A Dream" — Premiere Theatre & Performance i/a/w Vitalist Theatre
Susan Monts-Bologna (Lady Boyle) — "Superior Donuts" — Mary-Arrchie Theatre Co.
Caroline Neff (Helen) — "Under the Blue Sky" — Steep Theatre Company

Supporting Actress — MusicalAnita Hoffman (Denise) — "The Baker's Wife" — Circle Theatre
Khaki Pixley (Petra) — "A Little Night Music" — Circle Theatre
Danni Smith (Rhetta) — "Pump Boys and Dinettes" — Theo Ubique Cabaret Theatre
Dana Tretta (Catherine) — "Pippin" — Bohemian Theatre Ensemble

New WorkShepsu Aakhu — "Speaking in Tongues: The Chronicles of Babel" — MPAACT
Keith Josef Adkins — "The Last Saint on Sugar Hill" — MPAACT
Scott Barsotti, Molly Each, Laura Eason, Brian Golden, Kristin Idaszak, Kim Morris, Nick Ward and Doug Whippo — "We Live Here" — Theatre Seven of Chicago
Lucas Neff — "The Last Duck" — Jackalope Theatre Company
Deirdre O'Connor — "Assisted Living" — Profiles Theatre

New AdaptationSean Graney — "Sophocles: Seven Sicknesses" — The Hypocrites
Matt Hawkins — "Cyrano" — The House Theatre of Chicago
John Hildreth — "Watership Down" — Lifeline Theatre
Blake Montgomery — "Moby-Dick" — The Building Stage
Steve Moulds — "Six Characters in Search of an Author" — The Hypocrites

ChoreographyKevin Bellie — "Urinetown the Musical" — Circle Theatre
Brenda Didier — "Pippin" — Bohemian Theatre Ensemble
Nicole Pellegrino — "Spring Awakening" — Griffin Theatre Company

Original Incidental MusicAndrew Hansen — "Hunger" — Lifeline Theatre
Michael Huey — "The Spirit Play" — The Strange Tree Group
Ovidiu Iloc — "The Word Progress on My Mother's Lips Doesn't Ring True" — Trap Door Theatre
Christopher Kriz — "The Count of Monte Cristo" — Lifeline Theatre
Kevin O'Donnell — "Moby-Dick" — The Building Stage
Kevin O'Donnell, Shawn Pfautsch and Matt Hawkins — "Cyrano" — The House Theatre of Chicago

Music DirectionJim DeSelm — "Pump Boys and Dinettes" — Theo Ubique Cabaret Theatre
Allison Kane — "Spring Awakening" — Griffin Theatre Company
James Morehead — "Passing Strange" — Bailiwick Chicago
Jeremy Ramey — "The Light in the Piazza" — Theo Ubique Cabaret Theatre
Andra Velis Simon — "Violet" — Bailiwick Chicago

Scenic DesignBob Knuth — "The Women" — Circle Theatre
Jack Magaw and Kimberly Senior — "Bug" — Redtwist Theatre
Amanda Rozmiarek — "The Price" — Raven Theatre
Ray Toler — "Bus Stop" — Raven Theatre
Adam Veness — "The Light in the Piazza" — Theo Ubique Cabaret Theatre

Lighting DesignKevin D. Gawley — "Hunger" — Lifeline Theatre
Lee Keenan — "Spring Awakening" — Griffin Theatre Company
Lee Keenan — "The Trestle at Pope Lick Creek" — Eclipse Theatre Company
Jared Moore — "Lighthousekeeping" — New Leaf Theatre
Jared Moore — "Sophocles: Seven Sicknesses" — The Hypocrites
Mac Vaughey — "The Ugly One" — Sideshow Theatre Company

Costume DesignAly Renee Amidei — "The Count of Monte Cristo" — Lifeline Theatre
Jacqueline Firkins — "Cyrano" — The House Theatre of Chicago
Jesus Perez — "Urinetown the Musical" — Circle Theatre
Elizabeth Wislar — "A Little Night Music" — Circle Theatre
Elizabeth Wislar — "The Women" — Circle Theatre

Sound DesignThomas Dixon — "The Sea" — Theatre Mir
Mikhail Fiksel — "Watership Down" — Lifeline Theatre
Christopher Kriz — "Bug" — Redtwist Theatre
Christopher Kriz — "The Count of Monte Cristo" — Lifeline Theatre
Christopher Kriz — "Opus" — Redtwist Theatre

Fight DesignMatt Hawkins — "Cyrano" — The House Theatre of Chicago
R&D Choreography — "Watership Down" — Lifeline Theatre
David Woolley — "Superior Donuts" — Mary-Arrchie Theatre Co.

Dialect CoachingEva Breneman — "The Light in the Piazza" — Theo Ubique Cabaret Theatre
Anita Deely — "Old Times" — Strawdog Theatre Company
Elise Kauzlaric — "Punk Rock" — Griffin Theatre Company

Artistic SpecializationCasey Baker, Kevin O'Donnell and Mike Pryzgoda — Percussion — "Moby-Dick" — The Building Stage
Zhanna Bullock — Music Coach — "Opus" — Redtwist Theatre
Joanna Iwanicka — Puppet, Mask and Video Design — "Watership Down" — Lifeline Theatre
Mary O'Dowd — Properties/Set Dressing — "The Price" — Raven Theatre
Brett Schneider — Magic Design — "The Spirit Play" — The Strange Tree Group
Mary Williamson and Christine Conley — Makeup/Gore Design — "Sophocles: Seven Sicknesses" — The Hypocrites
Nivan Yahaghi — Video Design and Cinematography — "We Live Here" — Theatre Seven of Chicago

The 39th Annual Non-Equity Jeff Awards Ceremony will be held on Monday, June 4, 2012, at the Park West, 322 W. Armitage, Chicago, IL. Doors open for a cash bar at 6:00 p.m., with a light buffet at 6:30 p.m., and the presentation ceremony at 7:30 p.m. Tickets are $40 in advance, $45 at the door. A group rate of $35 is available for parties of 10 or more. Festive cocktail attire is suggested, and the awards are open to the public. Tickets may be purchased online at http://www.jeffawards.org/.

A graceful light shines at "The Light in the Piazza"

Justin Adair is Fabrizio opposite Rachel Klippel as Clara in
Theo Ubique's "The Light In the Piazza"

I really have to stop second guessing the talented folks at Theo Ubique.

The group that managed to make Andrew Lloyd Webber’s shabby tabby of a show “Cats” both relevant and watchable once again last season can add another accomplishment to their belts. Their current production of Craig Lucas and Adam Guettel’s vocally-challenging “The Light in the Piazza” manages to be heartfelt and intimate at the same time it is operatically grand.

The company’s artistic director Fred Anzevino and his co-director on the production, Brenda Didier, have once again discovered some amazing talent to cast their show.

Kelli Harrington as Margaret, opposite Klippel as Clara.

Kelli Harrington is relatively unknown in Chicago theater circles, but that could all very well change thanks to her painfully truthfully and emotionally intense portrayal of Margaret, the 1950’s era housewife who embarks with her intellectually-handicapped daughter Clara on an odyssey to find the ruins of her once happy marriage in an Italian village that was the sight of her honeymoon.

As Clara, Rachel Klippel deftly avoids playing up too much of her character’s handicap and instead delivers a captivating portrait of a young girl whose zest for life and willingness to fall blindly into love has you wondering if fully-able people are truly the ones with a handicap.

As Clara’s love interest Fabrizio, Justin Adair brings some emotional vulnerability and sweetness to the role. Like Klippel and Harrington, he is more than capable of singing the demanding score, too.

As Signor Nacarelli, Fabrizio’s gruff, womanizing father, Michael Kingston also manages to find a subtle kindness to the character. Denise Tamburrino, as his wife, nearly brings the house down when her character steps away from speaking Italian to explain what is going on in “Aiutami.” Pavi Proczko turns in a fine comedic performance as Fabrizio’s ne’er-do-well brother Giuseppe. Elizabeth Lanza seems to channel a young Sophie Loren as Giuseppe’s long-suffering and much put upon wife, Franca.

Adam Veness’ set, featuring sun-drenched and weathered beiges, allow the colorful period costumes by Bill Morey to really pop (the sepia-toned publicity photos don't do the costumes justice). Music director Jeremy Ramey’s quartet of three strings (including a harp) and piano offer some new-found clarity and intimacy to Adam Guettel’s score. Like a return trip to Italy, you will still find much to discover even if you are familiar with it.

Time and time again, Theo Ubique manages to reinvent and inspire. Quite simply, no other Chicago store front theater deserves to have a larger, national profile than Theo Ubique. To my national Broadway World readers: don’t take my word for it. Fly to Chicago and see this talented and amazing cast in this show.

“The Light in the Piazza” runs through April 29 at the No Exit Café, 6970 N. Glenwood. Tickets, $29-$34. Option $20 three-course meal also available. Call   (773) 347-1109 or theo-u.org.

Pom Poms up for "Bring It On: The Musical"

Cross-posted from Broadwayworld.com

I was never a big fan of the “Bring It On” film series (I’ve only seen bits and pieces of films on cable) and I certainly wasn’t expecting much from “Bring It On: The Musical”

Gimme an “H”! Gimme an “I”! Gimme a “T”! Yes, the cheerleading-centered musical is indeed a surprise hit.

Much like the film franchise whose sequels merely feature the premise of two rival cheer squads and no recurring characters between them, “Bring It On: The Musical” merely uses the premise of competitive cheerleading to hang its narrative about alienation, friendship and good old-fashion high school backstabbing on.

If 2007’s film “Bring It On: In It to Win It!” was a modern retelling of “West Side Story,” “Bring It On: The Musical” could be said to be a pompom spin on “All About Eve.”

Make that “All About Eva.”

Taylor Louderman as Campbell, the cheerleader with a heart of gold

Campbell (the likeable and somewhat understated Taylor Louderman) is the head cheerleader at a whiter-than-white suburban high school and she’s that rare, nice popular girl who is kind to everyone, not just her besties. On the eve of the start of the school year, her home is redistricted as a result of some possible sneaky maneuvering by her sophomore rival Eva (the sweet yet conniving Elle McLemore).

Ryann Redmon (center) as Bridget is backed up by

Ariana DeBose (Left) as Nautica and Gregory Hansey

as La Cienga 

Campbell, along with the team’s full-figured, geeky mascot Bridget (the hilarious Ryann Redmond) find themselves attending Jackson, the diverse and rougher inner city school across town.

From there, things are turned upside down. The once popular Campbell is an outcast. The bootylicious Bridget, however, suddenly finds that she is attracting both the attention of the boys and the school’s dance crew, led by Danielle (the terrific Adrienne Warren).

Other standouts in the cast include Gregory Haney as a transgendered cheerleader La Cienega, and Jason Gotay as Campell’s love interest Randall. Gotay’s performance of the ultimate teenage anthem “Might As Well Enjoy the Trip” is positively swoon-worthy.

Danielle (Adrienne Warren, center) rules the roost at Jackson High.

It’s not only the main characters of the play who find their souls at Jackson. Directed and choreographed by Andy Blankenbuehler manages to find the heart and the soul of the show there, too. The show stops being a cross between “Mean Girls” and “Legally Blonde” to actually delve, albeit briefly, into issues of class, race and even political power.

Producers have wisely assembled a Tony-award winning creative squad here. The book is by Jeff Whitty (Tony winner for “Avenue Q”), the lyrics are by Amanda Green and Lin-Manuel Miranda (the former is a recipient of the Jonathan Larson Award, the latter the Tony winner for “In the Heights”) and the music is by Miranda and Tom Kitt (Tony and Pulitzer winner for “Next to Normal”).

Kitt brings some truly gorgeous and complex melodies to the table here, much like his work in “Next to Normal.” For his part, Miranda continues to contribute to expanding the vernacular of Broadway music with elements of rap and hip hop starting to feel more and more like they belong on the stage. Highlights include “It’s All Happening” (though this might work better as a first act closer, not a second act opener) and the climatic number “Cross The Line” wherein our protagonists learn that winning isn’t everything and sometimes it’s best to stand out and play by your own rules instead of conforming to societal norms.

And if the music doesn’t blow you away, the choreography and cheerleading stunts will. “Bring It On” will have you cheering in the aisles.

“Bring It On: The Musical” runs through Mar. 25 at the Cadillac Palace, 151 W. Randolph. Tickets, $18-$85. (800) 775-2000 or broadwayinchicago.com.

"South Pacific" features a promising young cast and it's share of "Bali-lows"
 (Cross-posted from BroadwayWorld.com)

By Misha Davenport

“South Pacific” at the Cadillac Palace Theatre? It was a somewhat enchanted evening.

The economics of producing a live theater event –let alone a full-blown musical—cannot be easy. Most producers I know do it more so out of a love of theater than any notion that they are ever going to see a return on their investment. So, I suppose I shouldn’t fault any producer willing to put his or her skin in the game in what amounts to a noble effort to keep musicals -one of America’s greatest cultural achievents—alive.

And yet, I can’t help but find some fault with NETworks Presentations, the folks behind the current tour of “South Pacific”(playing through Feb. 26) and several other non-Equity tours that have rolled through town under the auspices of “Broadway in Chicago.” NETworks’ shows certainly aren’t community theater, but Broadway they ain’t.  

The pared-down production of “South Pacific” currently playing at the Palace might wow them in Debuque, but this is Chicago and we’re fortunate enough to have an embarrassment of theater riches. You don’t need a ton of money to present a quality performance; you just need some creativity and a commitment to quality work.

For the most part, the cast show’s a commitment to their craft. As the “cockeyed optimist” Ensign Nellie Forbush, Jennie Sophia effortlessly gives a zestful performance. She has a beautiful voice and manages to thoroughly charm the audience.

As Lt. Joseph Cable, Shane Donovan is occasionally wooden, but he possesses enough hunky bravado and boy can the guy sing.

Christian Marriner also is in fine comedic form as the scheming yet loveable Luther Billis.

Faring less well is Marcelo Guzzo as French ex-patriot Emile de Becque. Guzzo has a rich and full voice needed to pull off “Some Enchanted Evening,” but his accent however can best be described as “continental” as it truly is all over the map. Spoken lines had a Spanish flavor and his singing voice had traces of both German and Italian. Suffice to say, you’ll have a hard time believing he’s French.

The most interesting choice of the night comes from Cathy Foy-Mahi as the native black marketer Bloody Mary. It’s normally a light-hearted, comedic role (in less skilled hands it sometimes even boarders on a racist stereotype). One of the strongest scenes in the show is when Bloody Mary attempts to prostitute her young daughter Liat (Hsin-Yu Liao) to the handsome and naïve young officer Cable. 



Nothing wows 'em like a tender portrayal of white slavery.

Rogers and Hammerstein produced in a time when Broadway shows weren’t usually dark (they were once famously accused of sugar-coating the Nazi occupation of Austria in “The Sound of Music”). “South Pacific’s” anti-racism anthem “You’ve Got To Be Carefully Taught” predates the Civil rights era by a decade or so, though. While Bloody Mary’s actions are probably historically accurate, I’m not sure if it works as it ends up taking some of the weight away from some of the other serious elements in the show.

The thing that is perhaps most disappointing is the orchestra. The last time Rogers and Hammerstein’s Pulitzer Prizw-winning show came through town it featured a full orchestra. The current tour boasts ten musicians and two computers (light even by tour standards).

Without a full orchestra, you can’t help but feel like this is a stripped and watered down version of “South Pacific.”

Yes, the score features some of the best music from the American Songbook including “Some Enchanted Evening,” “There is Nothin’ Like a Dame,” “I’m Gonna Wash That Man Right Outa My Hair,” and “A Wonderful guy.” You could accompany these tunes with a chorus of kazoos and it would still feel magical. It’s best not to give NETworks any ideas though.

If you’ve never seen “South Pacific,” you will probably find enough “Bali Ha’is” to warrant your ticket purchase, though.

"South Pacific" plays the Cadillac Palace Theatre (151 W. Randolph) through Feb. 26. Tickets, $18-$85. Call (800) 775-2000. broadwayinchicago.com or southpacificontour.com.

The "court" rules in favor of "Legally Blonde"

David Larsen as “Emmett” and Chelsea Packard as “Elle Woods” in "LEGALLY BLONDE" at Marriott Theatre.

 Photo by Peter Coombs , courtesy of Marriott Theatre. 

OMG, but how “Legally Blonde” has grown on me.

When I first caught the 2007 Broadway production of the musical (based on the 2001 movie starring Resse Witherspoon and the original novel of the same name by Amanda Brown), I was underwhelmed by its rather traditional comedy musical score, pop culture references and shameless production promotion (Red Bull was featured in both the script and set design).

Red Bull still figures into both script and set in Mariott Theatre in Linolnshire’s regional production of the show, currently playing through April 1, but for some reason the whole affair comes off –to borrow a lyric from the first act closing song—“so much better than before.”

If “Mama Mia!” is the Hostess cupcake of Broadway musicals, “Legally Blonde” is most assuredly it’s big, pink cream-filled Twinkie. It’s a fast-paced, high-energy musical comedy that will have even the most cynical and seasoned theatergoer smiling.

 Cole Burden as “Warner” and Chelsea Packard as “Elle Woods."

Photo courtesy of Mariott Theatre

The plot in a nutshell:  Petite blonde Elle Woods (Chelsea Packard) is dumped in the last semester of her senior year by long term boyfriend Warner Huntington III (Cole Burden). Warner, it seems has designs on both Harvard Law School and a future in politics and wants “less of a Monroe and more of a Jackie.”

With the help of her Delta Nu sorority sisters, Elle manages to pass the LSAT and also get into one of the most competitive law schools in the country, where she proceeds to try and win him back.

Of course, she is the laughing stock of her class and her professor (Gene Weygandt as the gumpy, tough as nails, high-profile attorney and professor) takes delight in ridiculing her.

With the help of Emmett Forest (a likeable David Larsen), a working class advisor trying to better himself, her manicurist Paulette (Christine Sherill) and a Greek chorus made up of a trio of her sorority sisters (Alexandra E. Palkovic, Vanessa Panerosa and Tiffany Topol), she discovers not only a passion for law, but also the inner-strength to be more than just someone’s girlfriend.

Packard initially plays the character a bit more shallow than in previous Elle’s I’ve seen, but it ends up working to the show’s advantage. Her transformation from blonde to barrister in the second act is akin to as a certain cockney flowergirl’s transformation to proper lady in “My Fair Lady.” By the show’s end, you can’t help but root for her.

Christine Sherrill as “Paulette"
Photo courtesy of Mariott Theatre

As the down-trodded, working class manicurist Paulette, Sherrill manages to ground things in reality. The lyrics of her one solo “Ireland” might be written to illicit laughs (and make no mistake, they do), but Sherrill delivers them with such heartfelt intesity that you immediately recognize another weary fellow traveler whose journeys have sometimes afforded more disappointment and regret than joy and achievement.

If there is anything uneven it is to be found in the show’s leading men. Burden is such a heel and Larsen is so perfect, Elle’s eventual choice is a bit of a no-brainer.

“Legally Blonde” might not be Ibsen, but it still is entertaining.

"Legally Blonde" runs through April 1 at the Marriot Theatre in Lincolnshire. Tickets, $40-$48. Call (847) 634-0200; http://www.marriotttheatre.com/