Dispatches from the Musical: Dispatch No.2

While I wish someone paid me to sit through musical practice, I freely declare that there are few hours of unpaid labor more enjoyable than sitting through practices of Legally Blonde. The actors are absolutely excellent, the sets are coming together nicely, and the orchestra is trying its best. Some elements may feel rushed due to the time deficit compared to last year, but that has never seemed to stop the cast and crew or Mr. Gilken, who spends more Friday afternoons in the basement than the entire high school combined. 

With students working overtime to get the show together, there is a constant anxious atmosphere anywhere near the stage, and if the pressure keeps up, as supportive as it is, I fear that there might be more than one fainting spell this production—and more than one Stage Crew member knocked out by the show. Compared to Pippin, this show has less of the negative implications of a pandemic attached like a deadweight to it; but, instead the regular drudgery of logistics and finances, and ultimately, it remains to be seen not whether we end up tied up and pink in the face and bowing out due to pandemic lack of practice or whether we can afford pink bow ties for the orchestra. Despite the commotion, several members of the cast and crew sat down with Voices and shared their thoughts on the show, the community, and the progress the production has made. 

Gwen Kapusinski (11-3) brings us an interpretation of Elle Woods that is not only natural and entertaining but also firmly human. Kapusinski’s Elle is not one of comedic relief as some, especially here, might reflexively look, but instead a messenger of kindness, complete with instinctive incisiveness, both socially and professionally. Fitting with the role, the interviewee arrived elated, with a collection of handwritten notes.   

Describe, in your own terms, the character of Elle Woods. What is she like?

Elle Woods is a genius. She’s super kind, super feminine, and she goes on this journey of finding love, but what I love about her is that she never loses her feminine kind self. I think it’s a really important story, especially in a place like Masterman, where I feel like a lot of people here can relate to not being taken seriously or treated equally due to how they present themselves. I obviously can relate to that—remember when Elle says to Warner “I got into this school too”—we all got into this place and we are all super-super-smart people and that’s why I’m so excited to do it for the middle school because it’s something they need to see. I love Elle Woods and I love musical theater—I’m so grateful, I’m so happy, I painted my nails pink yesterday! 

Last year, your personality and stage presence shone through in your portrayal of Berthe. How are you bringing components of yourself to this role?

In a lot of the songs, I find so many lines that I can so easily relate to my own theatrical life. I’ve never had a role like this before, and I don’t really have to act so hard because I can relate so much to this character with the chance to do something really important. 

Are there any downsides to the role?

No! I love it all so much; it’s the highlight of my day. It’s a show that runs on love, and the cast is an incredible group of people; we have such a great community. 

Francis Jurlando (11-3), a first-time theater kid (and previous Stage Crew doyen) has also been going for a more human, relatable approach for a role with a quieter personality but just as much charm.  

How would you describe your role?

He’s the love interest and mentor for Elle. I’m trying to make him generally really likable. I’ve seen a lot of productions where people try to make him really deep and that just becomes really annoying and unpleasant to watch. 

What is the best thing about your character?

He’s really done a lot to get where he is. Everything he has, he has worked really hard for, and I think that’s really impressive. 

How would you change or expand your character?

There are a lot of confusing lines, and I’m just trying to make them simpler—he likes Elle, and he likes being around her. 

How is production going?

We will always get everything done at the end of the month—because we’ll have to. 

Giselle Jap of Tech Crew was less confident but did not have much to report on.

How is Sound Crew doing this year?

Well, we actually haven’t set it up yet. We plan to do so, but there won’t be too many changes.

The lights might get replaced with LED lights for more variations—there was a grant. That’s pretty much it.

The introduction of the Wig Master this year has presented a new mysterious variable, especially for a show whose title is built around the titular hair. The Wig Master, without a face or name at the time of this article’s writing, has deigned to take on two assistants, one of whom, Dasani Mann (12-4), explained in uncertain terms what the job actually entails. The two wig assistants do not seem to know of each other’s existence and seem to convince me further that someone is running a scam and we are all being duped.

Did they lock you in a room when you signed up so that you couldn’t see anyone else?

Yes, it was initiation based—I got an ominous email from Ms. Neu and it was like “it starts February 23rd”—I was blown away! I didn’t know what else to do after that. I said sure. I’m going to learn how to take care of wigs and put them on the actors—whoever chooses to wear one.

Who is the “Wig Master”?

No idea! No idea—all I know is that it starts February 23rd. What time, who is it, where’s the meeting at, I have no idea!

Meanwhile, our unbiased confidential source (Ms. Neu) knows for certain that the show will be a hit. 

Do you think the show will be in a good place to put on?

Every year I think there’s no way that it will go well but then on the first night, Masterman students have the ability to manifest greatness on call. 

Ultimately, the show will go on, premiering on March 2nd. With such a talented cast and dedicated crew, Legally Blonde will prove to be seriously good entertainment and seriously good work to such a labor-intensive and rewarding end. In the mangled words of Gwen Kapusinski, we all gain from daring to be exc-elle-nt, even the born-excellent among us. What a time this will prove to be.