#heather hach

[doyouknowthismusical]

[tamaharu]

i think i found a way to work legally blonde the musical into a school assignment LMAO

[lovromajers]

Absolutely befuddled at how shit the romance in the legally blonde movie was in comparison to the musical im detoxing myself from the shitty movie by listening to the musical again im shocked im so shocked

[the-rewatch-rewind]

A day late and a little scratchy but we got there.

Script below the break

Hello and welcome back to The Rewatch Rewind! My name is Jane, and this is the podcast in which I count down my top 40 most frequently rewatched movies in 20 years. If you’re a regular listener, you may have noticed that this week’s episode is a day later than usual, and that’s partly because as you can probably tell I’m a bit sick, so I was trying to wait until my voice sounded better to record, and partly because it felt appropriate to release this episode on a Friday instead of the usual Thursday. So welcome to my late and somewhat scratchy-voiced discussion of number 24 on my list: Disney’s 2003 fantasy comedy Freaky Friday, directed by Mark Waters, written by Heather Hach and Leslie Dixon based on the novel by Mary Rodgers, and starring Jamie Lee Curtis and Lindsay Lohan.

Teenaged musician Anna Coleman (Lindsay Lohan) and her widowed therapist mother Tess (Jamie Lee Curtis) seem to be in constant conflict, fueled partly by their generation gap and partly by Anna’s reluctance to accept Tess’s relationship with her fiancé Ryan (Mark Harmon). Anna’s band is offered an audition that conflicts with Tess and Ryan’s rehearsal dinner, which leads to a heated argument between Anna and Tess at a Chinese restaurant. Overhearing this, the restaurant proprietor’s mother (Lucille Soong) gives them fortune cookies with identical fortunes, causing an earthquake that only the two of them can feel. When they wake up the following morning, Anna and Tess have switched bodies. In trying to live each other’s lives, each finally begins to understand the other.

I feel like I might have seen this movie in theaters, but I don’t actually remember. I do know that it was one of the first DVDs my family got, and I have lots of memories of playing around with the interactive menu and watching the bloopers over and over. I saw the movie once in 2003, so that may have been in a theater, then four times in 2004 and three times in 2005, back when we didn’t own many other DVDs. Then I saw it once each in 2007, 2009, 2011, 2012, 2017, 2018, and 2019, and twice each in 2020 and 2022.

I’ve only seen the 1976 version of Freaky Friday once, and that was in 2006, so I don’t remember much about it. From what I do recall, it’s a very silly, broad comedy, which is not a bad thing by any means, but one of the main things that I particularly appreciate about the 2003 version is that despite its wacky premise, it feels grounded. The characters feel like real people. Even the body-switching is almost believable. And that is almost entirely due to the phenomenal acting by the two main stars. Lindsay Lohan had already demonstrated her ability to play multiple characters in the same movie five years earlier in The Parent Trap (which unfortunately just barely missed my top 40 with 14 rewatches while I was keeping track), and she is thoroughly convincing as both a teenager and her mother here. Jamie Lee Curtis got arguably the more fun role and absolutely nailed it in every possible way, which is extraordinarily impressive given that she was only cast a few days before filming started. Originally the part was offered to Jodie Foster, who had played the daughter in the 1976 version, which she declined because she didn’t want stunt casting to become the main focus of the film. So Annette Bening was cast, but dropped out at basically the last minute and was replaced by Curtis, who proceeded to give one of my favorite performances of all time. She is the perfect blend of fun and serious, entirely believable as both Tess and Anna in Tess’s body. Neither Lohan nor Curtis seems to be trying to do an impression of the other, which potentially could have made the swap even more believable, but personally I’m glad they didn’t get hung up on trying to mimic each other’s mannerisms and instead focused on capturing the attitude of each other’s character. The movie isn’t about how Jamie Lee Curtis would act in Lindsay Lohan’s body or vice versa. It’s about people who are exasperated with each other learning that the other’s life is more complicated and difficult than they realized. And that could not have possibly been more perfectly portrayed.

While this movie is a comedy and has many very funny moments, the climax always makes me cry. After all their fighting and misunderstandings, it is so satisfying and beautiful to see Tess and Anna finally learn to feel and display the selfless love required to change them back. The series of beautiful moments starts when Anna’s friends show up at the rehearsal dinner to take Anna to their audition. Anna in Tess’s body explains the situation to Ryan, commenting that she knows he doesn’t care because Anna’s just some kid in a stupid rock band, and then Mark Harmon, who has spent most of the movie being politely confused, gets his big moment, when Ryan tells Anna (who is of course really Tess) to go to the audition, and then goes off on Tess (who is really Anna), saying he doesn’t intend to be an uncaring step-father, he very much does care about Tess’s children and wants to be part of their family, and encouraging Tess to go watch Anna’s audition. Jamie Lee Curtis perfectly conveys Anna’s realization that she has underestimated Ryan before rushing off to the concert, where she is desperately needed because Tess has no idea how to perform in a band. Side note: it would have been completely understandable for this teenage band to just be okay, but they are legitimately awesome, and their song slaps so much harder than it needed to for the purposes of this movie and I absolutely love that. Anyway, when they start to perform, Anna sees that Tess is petrified and makes her way backstage, reassures her mom that she just needs to fake it, and then Anna in Tess’s body plays her epic guitar solo offstage. That shot of Lindsay Lohan’s face when the solo starts and she turns in shock still gives me chills. That “Holy moly, my daughter is super talented, how did I not realize that until now?” look. Ugh, it’s so good. And then when the band finishes slaying, they both return to the rehearsal dinner, and Tess tells Anna to explain to Ryan that they need to postpone the wedding. Instead, Anna starts a toast about how even though she still misses her dad, she’s willing to welcome Ryan into their family because of how happy he makes her mom, and it’s in the middle of this that another earthquake hits and they switch back, and I just cannot even begin to explain how perfect it is. And of course, the only reason this pays off so well is because of how meticulously and realistically their relationship and individual objectives have been set up throughout the movie. We know that Anna cares about her music while Tess merely tolerates it, and we know that Tess is in love with Ryan while Anna only reluctantly accepts that he’s going to marry her mom. And seeing these two people who are so focused on their own objectives finally understand and acknowledge that the other’s are equally important is so thrilling to me because I desperately wish things like that would happen more in real life.

I admit to often finding it difficult to understand other people’s perspectives and motivations, no matter how much I want to. And in some ways this movie doesn’t really help because it implies that the only way to overcome that barrier is to literally switch bodies with someone else, which as far as I know is impossible. But I think that at least in Tess and Anna’s case, they could have reached a similar understanding without the magic if they’d just listened to each other. Early in the movie, Tess thinks Anna is being ridiculous when she says that certain people are out to get her, like her former best friend Stacey Hinkhouse (played by Julie Gonzalo) and her English teacher Mr. Bates (played by Stephen Tobolowsky, and apparently named in reference to the character who killed Jamie Lee Curtis’s mother Janet Leigh’s character in the movie Psycho). But once Tess attends school as Anna she learns that Stacey really is very mean to Anna, for no apparent reason, and that Mr. Bates really is grading her unfairly because he’s still bitter that Tess wouldn’t go to their high school prom with him. If Tess had taken Anna seriously to begin with, she wouldn’t have needed to literally live her life to learn that. So that’s the lesson I’ve tried to take from Freaky Friday: listen to people, give them the benefit of the doubt, and bear in mind that their lives are probably more difficult and complicated than they appear to you.

Surprisingly, an aspect of this movie that I think works remarkably well is the romance. This is unexpected both because of how much time I spend complaining that there is too much romance in movies in general, and because in this particular movie the two main characters aren’t who their love interests think they are for most of the story. Anna has a crush on Jake (played by Chad Michael Murray), but they’ve never spoken until the day before the switch. They have one kind of cute conversation that is interrupted by Mr. Bates, and then the next time they meet, Anna is Tess. Jake doesn’t like this version of Anna, but he runs into the real Anna (in Tess’s body) at the coffee shop where he works, and they have a great conversation about music. As someone who does not experience sexual or romantic attraction but does understand compatibility, watching people bond over shared music taste makes way more sense to me than watching people make out. This is a type of romance I can wrap my head around. Maybe it should seem a bit creepy for a middle-aged adult and a teenager to be flirting with each other, but the audience so thoroughly believes that Jamie Lee Curtis is Anna that it doesn’t come across as weird at all. Later, when Tess as Anna kisses Jake to try to get him to leave the person he believes is Tess alone, he says, “You’re beautiful, but you’re not her,” and it is so wonderful to see this deviation from the stereotype that teenaged boys just want to sleep with every girl they can get. Jake really likes Anna for who she is, and that makes so much more sense to me than something like Anna’s initial crush on Jake before they’ve even met. My brain needs there to be a reason why people like each other beyond “they’re attractive,” and “we have the exact same taste in music” fits that. So I support Anna and Jake’s romance, and I hope they’re happy together. And of course, I already mentioned that I love when Ryan makes it clear that he’s marrying Tess not only because he wants to be with her, but also because he wants to be part of her children’s lives. Given Disney’s typically negative portrayal of step-parents, this is huge. Ryan recognizes that this is a difficult situation for Anna and her brother Harry, and he’s doing his best to make the transition easier for them, and it’s so nice to see that. I feel like I can easily picture what Tess and Ryan’s life together will look like, which is more than I can say about a lot of couples who get married at the end of movies. I realize that romantic films are intended to be about the wooing and falling in love parts, but often I find it hard to believe that romantic leads will actually have a functional relationship going forward, so I appreciate that this movie doesn’t have that problem.

And of course I also appreciate that this movie heavily focuses on non-romantic relationships in the midst of romance. The main relationship is between Tess and Anna, but there are several side relationships that mirror this, including the conflicts between Pei-Pei (Rosalind Chao) and her mom (Lucille Soong) and between Anna’s brother Harry (Ryan Malgarini) and their grandpa (Harold Gould). I wish Pei-Pei and her mom were better developed characters, and the one aspect of this movie that doesn’t quite sit well with me is the whole fortune cookie thing. I appreciate that the filmmakers were trying to find a creative mechanism to initiate the switch, and maybe it would have worked better if the rest of the cast was more diverse, but something about the only Asian characters in the movie having mystical powers feels uncomfortably close to racist stereotypes of “exotic foreigners”. So I wish that had been portrayed differently. But I do like that there’s a mother-daughter conflict between Pei-Pei and her mom about how or whether to resolve the mother-daughter conflict between Tess and Anna. Pei-Pei wants her mom to stay out of it, but her mom can’t seem to help herself. Meanwhile, Harry and his grandpa are constantly teasing and misunderstanding each other throughout the movie, so at the wedding at the end, Pei-Pei’s mom offers them cookies. Three different endings of the movie were shot, two of which imply that Grandpa and Harry are about to switch bodies, but the one that made it to the final cut has Pei-Pei tackling them and successfully retrieving the unopened cookies before they have a chance to wreak more havoc. I hope this means that Harry and Grandpa (and for that matter Pei-Pei and her mother) will find a way to resolve their differences without magic.

The fact that a movie with this ridiculous of a premise manages to have characters that feel real enough that I care what happens to them after the events of the film is exactly what I love about it. If you’re a frequent listener of this podcast, you may have noticed that a lot of my favorite movies are based on ideas that don’t sound like they should work, but somehow turn out much more enjoyable than they have any right to be. In Freaky Friday’s case, the incredible writing and acting turned what could have been a mildly entertaining but forgettable romp into a moving, powerful crash course in empathy that I cannot stop revisiting.

Thank you for listening to my analysis of another of my most frequently rewatched films. Next week I will be returning to obscure Old Hollywood to discuss another movie with a ridiculous premise, which coincidentally also involves an adult pretending to be a child, although under very different circumstances than Freaky Friday. So follow or subscribe to stay tuned for that, and as always I will leave you with a quote from that next movie: “You should be very glad I’m not 12. I was a very straightforward child. I used to spit.”

[lzteach]

Linda's Book Obsession Reviews "The Trouble With Drowning" by Heather Hach, Greenleaf Book Group Press, October 17, 2023. On Tour With Suzy Approved Book Tours

Heather Hach, the Author of “The Trouble With Drowning,” has written an intense, suspenseful, twisted, and captivating novel. The Genres for this novel are Women’s Psychological Thriller, Mystery, Suspense, And Fiction. In the Preface, Heather Hach discusses mental illness and warns the readers, who might be sensitive to certain topics. I found myself glued to this book and read it in one…

[insurgentepress]

Lindsay Lohan y Jamie Lee Curtis regresarán a la secuela de 'Un Viernes de Locos'

Una secuela del clásico de comedia 'Un Viernes de Locos' de 2003 está oficialmente en desarrollo con sus estrellas originales a bordo @lindsaylohan y @jamieleecurtis.

Agencias, Ciudad de México.- Sí, tal y como lo acabas de leer, una secuela de Un Viernes de Locos ya está en camino, con Lindsay Lohan y Jamie Lee Curtis de regreso. Dirigida por Mark Waters a partir de un guión de Heather Hach y Leslie Dixon , esta clásica comedia de 2003 sigue a Anna Coleman (Lohan), una adolescente rebelde que tiene una mala relación con su madre, Tess Coleman (Lee Curtis),…

[kevintumbles]

Theatre Review: ‘Legally Blonde’ presented by Rockville Musical Theatre at F. Scott Fitzgerald Theatre

“Legally Blonde,” with music and lyrics by Laurence O’Keefe and Nell Benjamin and book by Heather Hach, is an energetic, feel-good story where the worst character is justly punished and all the others get what they want most—love and success. The short scenes serve mostly to link the vigorous songs together and launch the joyful […] See original article at: https://mdtheatreguide.com/2022/10/theatre-review-legally-blonde-presented-by-rockville-musical-theatre-at-f-scott-fitzgerald-theatre/

[dreamcastingbroadway]

Dreamcasting Broadway: LEGALLY BLONDE

“You thought I was dumb, but I think that somebody’s judgement was poor!”

Dreamcasting Broadway: Legally Blonde

Ashley Park as Elle Woods

Cheech Manohar as Emmett Forrest

Lea Salonga as Paulette Bonafonté

Devin Ilaw as Warner Huntington III

Stephanie Jae Park as Vivienne Kensington

Jon Jon Briones as Professor Callahan

Ericka Hunter as Brooke Wyndham

Catherine Ricafort as Serena

Marina Kondo as Pilar

Krystina Alabado as Margot (Elle u/s)

Adam Ali-Perez as Carlos/Lowell/Ensemble

Anna-Lee Wright as Judge/Store Manager/Ensemble (Paulette u/s)

Augustine Nguyen as Aaron Schultz/Guard/Ensemble (Emmett u/s)

Cailen Fu as Cece/Whitney/Ensemble (Elle u/s, Margot u/s)

Cathy Ang as Kate/Chutney/Ensemble (Enid u/s)

Diane Phelan as Leilani/Ensemble (Vivienne u/s, Pilar u/s)

Ethan Le Phong as Pforzheimer/Ensemble (Emmett u/s)

Eymard Cabling as Elle’s Dad/Winthrop/Ensemble (Callahan u/s)

Jon Viktor Corpuz as Ensemble

Kabir Bery as Sundeep Padamadan/Ensemble

Kay Trinidad as Elle’s Mom/Courtney/Ensemble (Paulette u/s)

Kimberly-Ann Truong as Kristine/Ensemble

Kuhoo Verma as Enid Hoopes/Veronica/Ensemble

Lina Lee as Shandi/Ensemble (Brooke u/s, Margot u/s)

Max B. Ehrlich as Nikos/Beer Bash Dancer/Ensemble (Warner u/s)

Paul HeeSang Miller as Kyle/Dewey/Grandmaster Chad/Ensemble (Warner u/s)

Warren Yang as Ensemble

Yvette Lu as Gabby/Stenographer/Ensemble

Amy Keum as Swing (Vivienne u/s, Serena u/s)

Carol Angeli as Swing (Brooke u/s, Pilar u/s)

Hugh Aparnente as Swing

Marcus Shane as Swing 

Michael Maliakel as Swing (Callahan u/s)

Viveca Chow as Swing (Enid u/s)

Andrea Macasaet as Elle Woods (alternate)

The concept behind this dreamcast comes from a TikTok I came across by user @/thekarlypaige a couple of days ago that has stuck with me for days now. I’ll link it below, but essentially, Legally Blonde through an Asian lens, touching on the “model minority” myth and showing that Asian people can’t be stereotyped into a singular experience. It’s high time for a Legally Blonde revival and I think looking at the material through a new lens would be a great way to revive this fun piece!

https://vm.tiktok.com/TTPdryLVJs/

[musicalsorwhatever]

“The Harvard Variations” is the fifth song in the 2007 Broadway musical Legally Blonde. With music and lyrics by Nell Benjamin (Mean Girls) and Laurence O'Keefe (Heathers), the book by Heather Hach was based on both the 2001 Amanda Brown novel and the 2001 movie, both of the same name. The show was nominated for seven Tony Awards, including Best Musical.

[neuronary]

legally blonde the musical should get more attention honestly because there is not a song on that soundtrack that doesn’t slap. like omigod you guys? a bop. serious? a banger that also perfectly encapsulates the way men refuse to consider giving women any space or time to exist apart from them. the delta nu recurring theme? exquisite. what you want? again, a bop. the harvard variations? hits. blood in the water? hands down the best villain song. positive? we love a dance break. ireland? paulette i would give my life for you. the reprise of ireland? best way to close out a scene. the reprise of serious? i could write essays. chip on my shoulder? if u don’t stan emmett pls unfollow me thank you. so much better? GIVE ME A BETTER ACT ONE CLOSING SONG. also elle’s fake orgasm gets me every time. also also the closing belt on that song deserves its own award. whipped into shape? perfect upbeat song to open act two and does a great job of exemplifying/foreshadowing the cause of callahan’s eventual fall. take it like a man? everybody say thank you to ms heather hach for actually developing the romantic subplot and making it adorable. bend and snap? literally the ultimate bop and we love to see women supporting women. there! right there!? i mean. it’s already a meme. what more can i even say. legally blonde? i am sobbing i am in tears i am heartbroken every time even though i know it is going to be fine within the next twenty minutes. legally blonde (remix)? THE QUICK CHANGE!!! vivian redeeming herself!! elle refusing to keep stifling her femininity in order to keep herself palatable to the men she works with!!!! and the finale? ties everything up brilliantly and the proposal is adorable.

anyways the musical was professionally recorded on broadway by mtv and aired live and that recording is available for free on youtube. admittedly the video quality is horrendous because it was a live recording in 2007 but the link is in the source and i can’t recommend it enough.

[littlefoible]

Day 3357 - Heather Hach https://www.instagram.com/p/CT4liR5rCso/?utm_medium=tumblr

[tamaharu]

i love when people reference gay or european. do they even know that its from legally the blonde the musical which is a 2007 musical with music and lyrics by laurence okeefe and nell benjamin and book by heather hach? based off the novel by amanda brown and the 2001 film of the same name?

[nofearnopanic]

I can't believe it's already been 12 years since Heather Hach invented entertainment by writing the book for Legally Blonde: The Musical

[lazerwulf]

how do u just drop that ur aunt wrote legally blonde like that and then just LEAVE IT

LMFAO SHDHAHSHA

YEAH I'M BEING LEGIT... heather hach... I call her auntie heather btw and she is super funny

[brothermarc7theatre]

“Legally Blonde” show #799

This past Thursday evening brought an evening with Delta Nu president, Elle Woods, and her journey to Harvard Law in pursuit of her “serious” ex-boyfriend, Warner. However, on the road to not getting him, she discovered that she had the intelligence and strength within to overcome the dreaded stereotypes and judgments that come with being a blonde. Elle Woods may be a lot of things, but she’s not “that blonde,” as demonstrated when she outsmarts: a snooty saleswoman; her pompous ex in a case study; her sleazy law professor, Prof. Callahan; her new hairdresser’s also-sleazy ex-boyfriend; a possibly gay and/or European pool boy; and a murderous daughter. All these points of wit and tenacity are demonstrated quite well in a fully-realized performance by CenterStage Clovis’ Sarah Rosenthal. Her legit vocal chops, bright smile, and understanding of what makes Elle tick on her journey to Harvard Law valedictorian are what elevates her arc to one that captures the heart of the audience.

From the start, it is clear what director Scott Hancock has set out to do with this beloved piece of fluffy musical theatre: let the audience enjoy and bop to the musical numbers, but really home in on Heather Hach’s book. As a whole, the message of Legally Blonde is effectively delivered by giving its proper attention to the comedy and romantic plot points; however, no moment is lost when portraying the, for lack of a better term, ickier side of Elle’s journey as a lawyer. Prof. Callahan is all that is wrong with males-in-power, and Mr. Hancock’s pacing of the Act Two scene with Ms. Rosenthal and Darren Tharp, playing Prof. Callahan, is what makes this production the whole package it so deserves to be. The calculated hunter, assuming his prey (Elle) is weak and defenseless when she is actually more than capable of standing up for herself, finally, is what makes the journey worth it. That being said, the acting and singing performances in this Legally Blonde are commendable and so well-suited for an evening of entertainment at the Mercedes Edwards Theater.

(Sarah Rosenthal (Elle) holding Pennie (Bruiser); Photo source: CenterStage Clovis)

Ms. Rosenthal’s bubbly, charming demeanor is exactly what Elle should be, and her vocal chops are on exuberant display in her leadership of “What You Want,” “So Much Better,” and given a nice depth of angst and wanting in the title song, post-Callahan kiss. What makes Ms. Rosenthal’s performance so effective is that she never loses focus on what Elle really wants, which is Warner. This slow burn chemistry fizzles as Warner, played with a nice dose of pomposity and dripping cockiness by William MacDonald, is at its peak in “Serious,” the fake-out proposal song which garners laughs and insta-sympathy for Elle. As that fire gets doused, Ms. Rosenthal dishes as much as she gets from Dakota Simpson’s endearing, scene-stealing turn as Emmett, nerdy law students who is Callahan’s right hand man and eventual co-counsel on the case at hand. The rise in attraction and respect Elle and Emmett have for one another is given a logical, warm, and driven passion, making their relationship one the audience so desperately roots for. Mr. Simpson’s vocals are beautiful in storytelling nuance and musical richness in “Chip on My Shoulder” and the “Take it Like a Man.”

(Sarah Rosenthal (Elle) and Dakota Simpson (Emmett); Photo source: CenterStage Clovis)

Mr. Tharp is a devilishly fetching Prof. Callahan, and his vocals make the often skipped song on the cast recording, “Blood in the Water,” (no offense to Michael Rupert, or Laurence O’Keefe and Nell Benjamin) a dynamite Act One almost-patter tune with a big-voiced ending which Mr. Tharp absolutely nails. But not just a presence and a voice, Mr. Tharp’s acting chops make every one of his scenes a demand for attention as a plot-pushing service culminating in his eventual exit from the courtroom. Madelyn Broach is a standout as Vivienne, Warner’s new girlfriend and law student who does not like Elle one bit, until she does. Vivienne is one of those roles written in a very unbalanced fashion in terms of musical chops versus acting turns. However, when Ms. Broach’s belt is unleashed in the “Legally Blonde (remix),” the audience’s patience is rewarded, as the notes sweep attention to where it’s due, allowing Ms. Broach to round out her journey from frigid law competitor to female empath who realizes the value of teamwork and doing the right thing. Kay Wilkins is a comedic gem of an actress as Paulette, Elle’s new hairdresser, friend, and all-around confidant. “Ireland,” and its reprise, is given the right staging and comedic inflection to allow Ms. Wilkins’ to make the ill-fitting solo a production highlight. However, it is in the energetically staged and performed “Bend and Snap,” where Ms. Wilkins really lets loose and rocks the house alongside the solid trio of Fatima Avila, Ava Tafallo, and Lexie Castellanos, playing Elle’s Greek chorus/Delta Nu sisters, Pilar, Margot, and Serena, respectively. The trio does kick off the show with an enthusiastic “Omigod You Guys,” though the sound mixing had the band overpower the majority of those opening vocals.

(L to R: Darren Tharp (Prof. Callahan), Dakota Simpson (Emmett), Sarah Rosenthal (Elle); Photo source: CenterStage Clovis)

Musically, this is one of the best versions of the score I’ve ever heard, fabulously led by conductor, Pete Van Der Paardt. Though the orchestra does overpower in several of the all-call numbers, the tuneage and energy is felt throughout the charged O’Keefe/Benjamin score, and delivers the intimacies of “Legally Blonde” and “Chip on My Shoulder” in a manner the character’s feelings are truly felt. Erin Roberts’ choreography of “What You Want” and “Whipped into Shape” are show highlights in terms of honoring the lyrics, the dance breaks, and letting loose the hard-working ensemble in a way that gives personality to the more legit dance turns. And while we’re on it, Kelsey Coyne’s performance as Brooke Wyndham, fitness goddess and murder suspect in the case at hand, is absolutely flawless, jump rope-ography and all. It is so mean for O’Keefe and Benjamin to make the actress playing Brooke have to belt and riff after such a demanding Act Two opener, and yet, with Ms. Coyne in the part, it is an effortless (appearing), completely stellar job that is deserving of multiple rounds of applause, if not an ovation.

(Kay Wilkins (Paulette) petting Victor E. Buldog III (Rufus); Photo source: CenterStage Clovis)

Legally Blonde closes in just two days, with three chances left to see it. It is not every production of this particular title that lends itself to more attention than is basically needed to follow the simple plot and tap your toe to the upbeat tunes. However, Mr. Hancock and company have done what is necessary to ensure that the heart and the message of this show take prominence. That is what Elle would want you to leave thinking about. That is what we audience members need to be reminded of. Go see this show!

[allisonethier]

🙏🏻 Thanks you’s & ⭐️ Highlights This weekend was a whirlwind. Three weeks out, I decided to throw my name into the hat for the show I wasn’t sure if I would be able to pull it off in such short time. I have made my off season, my in-season, so I am never really out of prep. The IFBB Weider pro natural pro show, the first of ever of its kind I had to be a part of it. This venue - the Monument National was the place of the first ever IFBB pro show in Canada, put on by bodybuilding pioneer & legend Ben Weider. The goal of this show—I wanted to compete without any expectation or pressure AND just have F-U-N! Win or lose, I learn. Doing a prep under three weeks is not a good idea and I absolutely don’t recommend it The road back to this body has been long and there’s still much work to be done. I see these photos, and instinctively, think, Oh, I can change that, that needs work, etc. Most respectfully and humbly this show also qualifies me for the 2020 Olympia which gives lots of time. 🙏🏻 😊 Thank you to Gary Udit & Ron Hache, promoting power duo, for supporting fitness, and continuing to promote bodybuilding, and the sport. This event, will be one of the top notch events of years to come. Venue, atmosphere, stage lighting, music, and the expediters, all contribute to making the show flow smoothly. All services, were close to the venue, and anything you needed was within walking distance Thank you to Heather @jandh_promotions and Ti-Jean from New Brunswick, my old stomping grounds/hometown, and Mike Clement @jojo_montreal_538 who have been staples, in the industry for years. Time to get back to life, family, training, and well, trying to stay healthy 🍎, and 🙊injury free . 💄Makeup: Alex 💁🏼‍♀️Hair: Me ☀️ Tanning: @absolutetouchinc Absolute Touch - @gymrat4ever64 Leta, and Tony @tiny_toni_resal 👠 Shoes (less sparkle): Ellie Shoes Suit: @tmariesuits 📸 Photos: @muscleinsider 🐒posing: @gilles.pomerleau.790 . @benweidernaturals @weider_germany @ifbb_pro_league @garyudit @canadianphysiquealliance @quebecmuscle . #ifbbproleague #ifbbprofitness #champion #digitalmuscle #muscleinsider # (at Montreal, Quebec) https://www.instagram.com/p/B2zYl0jHYWt/?igshid=wmpgfd2oognd