Racial Identity Reframes ‘Legally Blonde’

The bubblegum-pink fantasy of the musical “Legally Blonde” shines with its catchy tunes and campy charm, but the Department of Fine and Performing Arts’ new production injects a powerful layer of social commentary beneath the glitz and glamour. 

Hosted in the Newhart Family Theatre, the production casts Elle Woods not just as a perky sorority queen chasing love, but as a Black woman navigating the elitist walls of Harvard Law School.

Originally a novel by Amanda Brown, “Legally Blonde” was adapted for film in 2001 and as a Broadway musical in 2007. Each version follows Elle’s journey from heartbreak to Harvard, where she defies gender stereotypes and proves her worth. 

By casting Elle Woods as a Black woman, director Cristin Carole transforms the familiar story into a sharp, unflinching exploration of race, identity and privilege. Carole, a trained dancer and choreographer with experience at The Joffrey Ballet and Goodman Theater, said she wanted to bring her expertise to challenge conventions in “Legally Blonde.”

With no changes to the script, the racial dynamics make the show’s commentary subversive. Carole said this subtle critique is a hallmark of Black theater, where humor often disguises deeper social commentary.

“In Black theater, we follow this notion that I’m gonna make fun of you, then I’m making a comment, that I’m taking my power back by being able to criticize you,” Carole said. “Criticize you in a way that you don’t even know you’re being criticized — you think you’re being entertained.”

Carole, who collaborated with director Deron Williams on “Fairview” in spring 2024, had a similar approach to Williams’ confrontational style in “Notes From the Field.” With her theatrical experience, she said she aimed to bring discomfort to the pink, glittery world of “Legally Blonde.” 

When Elle’s boyfriend dumps her for being easygoing, Carole said she wanted the rejection — which is usually a comedic gag — to highlight how Black women’s ambition and worth are frequently doubted, making Elle’s heartbreak feel more cutting.

Carole said her decision to cast Elle as Black was a deliberate rejection of performative racial casting — a superficial practice of diversifying a cast without addressing the racial realities that come with it. 

Instead of simply filling a quota, Carole said she wanted the show to embrace how race inevitably shapes the audience’s perception of the character’s experiences. The casting was a form of conscious colorblind casting — one that doesn’t ignore race, but rather allows the audience to interpret its impact. 

“To see her color and say, ‘How do people respond to people of color?’” Carole said. “It’s so uncomfortable to acknowledge that people responded to race differently. We’d rather pretend this is a simple sugarcoated story of a girl who could.”

Carole said she didn’t revise the script or add new dialogue, but the visual contrast of a Black Elle moving through a predominantly white Harvard environment reframes the narrative. Once-playful jokes about Elle’s unsuitability for law school become biting, Carole said, because of the racist implications. 

The production also draws on Black American theatrical traditions to deepen its message. Carole and her creative team infused the musical with cultural references and movement styles rooted in Black performance history. 

The choreography incorporates Historically Black College and Universities “bucking,” a dance style known for its bold movements. The show’s pink-and-green color scheme matches that of the Alpha Kappa Alpha sorority — the nation’s first Black sorority.

The show’s reimagined lens also extended to its dance and movement. Second-year theater major Cristian Gabriel said the production embraced Black cultural influences in its performance style, making the show authentic and celebratory. Gabriel plays various ensemble parts as well as Winthrop and Carlos.

“The ensemble brought up a wealth of points around how we view ourselves in the society and how we approach these racial issues in an artistic endeavors like theater,” Gabriel said. 

These visual and stylistic choices aren’t just aesthetic — they’re part of the production’s deliberate conversation with musical theater’s past. Carole said she wanted to highlight how Black performance traditions have always influenced Broadway, even though those origins are often erased.

“Broadway doesn’t necessarily own its beginnings — it doesn’t necessarily own that it’s vaudeville,” Carole said. “So in the show, I worked with the choreographer and our costume designer to intentionally borrow, in a pastiche and teasing kind of way, different elements of well-known musical theater tropes.”

For the cast, the show’s racial framing added unexpected depth to their performances. First-year education major Priya Gangasingh said the actors spent the early weeks of rehearsal unpacking how racial identity altered the show’s meaning. 

Gangasingh said while watching the dance rehearsal, the themes of intersectionality were evident. Even seemingly innocuous lines took on a different weight when delivered by a Black Elle.

For fourth-year film and digital media major ensemble member Audrey Cunningham, the production felt like a meaningful step toward more inclusive theater. She said Carole’s color-conscious casting approach added depth to the show.

Rather than assigning each cast member a single role, Carole said she embraced a more fluid approach, with actors switching characters throughout the whole production.

With the cast moving between multiple roles, the show is fast-paced and unpredictable. Gabriel said with the small cast and constant role changes, he was playing an important role in the production.

“Usually with an ensemble, you feel more like a set piece, you feel more like that you’re like there just to fill in — but here, I feel my presence,” Gabriel said.  

That sense of constant movement and reinvention mirrored the production’s larger themes of identity and transformation. Gabriel said the show’s biggest triumph was its sense of community — not just in its message but in the bond it created among the cast.

“Ultimately, this production is about community and acceptance and grounding yourself and finding what makes you brave in what you love,” Gabriel said. “In a weird way, we as a cast have also come to this process together, and it’s just been really beautiful to experience this level of community with people, even so quickly.”

“Legally Blonde” will premiere March 27 and run through April 6. Tickets can be purchased on the Department of Fine and Performing Arts website.