Think you have to be a girl to like Legally Blonde the Musical? Think again! Chris Arneson and Kalen Leikam share their reasons why guys should see LEGALLY BLONDE THE MUSICAL here in Denver!

 

5 reasons why guys should see Legally Blonde: The Musical in Denver

By: Chris Arneson

Sure, it’s a musical. Filled with the color pink. And girl-power themes. So, why should a guy want to see it?  I’ll tell you.

 

1. Have you even seen the movie? Watch that, then tell me it’s not hilarious. Plus, you know your guilty pleasure is chick-flicks.

2. Trust me. Your girlfriend would probably flip out if YOU initiated a date to it. There’s some cred right there. It plays on Valentine’s Day, guys, in the heart of downtown Denver…and if you’re a student, tickets are only $25.

3. 4 words: “Bend and Snap” LIVE.

4. Did I mention the “Bend and Snap” is a group number? Filled with cheerleaders?

5. If you plan to go Feb. 2-4, you can get 50% off tickets when you order with the code: PINK. It’s a money-saver!

11 Reasons to See LEGALLY BLONDE!

By: Kalen Leikam

OMG guys! It is like totally my like post on Legally Blonde like from the Buell like on opening night! Eeeek!

Seriously though, Legally Blonde is an amazing show. The first few notes you hear really grab and pull you in. Once it has got you, the show just does not let go. And that is a good thing. Now not being the greatest of writers and America not being huge into reading, I am going to give you 11 reasons to see Legally Blonde. 11 since top ten lists are everywhere and the last point deserves to stand alone! (but it can’t because then not everyone would go see the show like they should, so I included ten other points).

1.  First, my favorite thing about the show. It is pretty darn funny. I don’t mean like the funny that just a few of you think is funny, but genuinely funny. You cannot help but laugh at thing like the bend or snap or Elle’s insults hurled toward Vivienne!
2.  OMG! I totally will be like dropping things, bending and snapping, and just like always like talking like this for like a few days! OMG!
3.  Live animals in a show always melt your heart. The dogs are soooo adorable. And I am a dude. Think about that.
4.  Girls: There is some man candy.
5.  Guys: The girls are definitely rockin’ it.
6.  UPS will never be the same again!
7.  Every show has its defining note. Now Elle can sing, and so she does. But the defining note goes to Vivienne! She has one note that blew me away and will be the note I remember from Legally Blonde. (Sorry Elle!)
8.  Technically the show has many of costume and scene changes and still it was cohesive. The piece did not feel clunky or like it ever just did not connect in a smooth way. The crowd was moved place to place and outfit to outfit seamlessly. (Ha! Like that pun?)
9.  For me, not only does a shows number have to keep me entertained, but my eyes like to be dazzled as well. As I said above, the changes in the show keep me looking from place to place. Whether it was the shoes, and not dance shoes eek, or the new scene, I was always looking at some good stuff!
10.  You keep moving, never slowing down until the curtain falls. Sure everyone will say a show has energy, yet this one really does. Elle’s attitude comes across in the score and you feel it in your heart. And in your toes. I was all jazzed and ready to go out on the town after the show, it really made me move in my seat.
11.  And finally, with all due respect to Galinda—PINK is this year’s green!

Popularity: 6% [?]

By Chris Arneson, Guilty One

 

We’ve all got our junk.

 

But while some have unhealthy obsessions with sports teams, shopping, felines and footwear, my guilty pleasure isn’t too conventional.

 

Hi, my name is Chris…and I love musical theatre.

 

Yeah, I said it. I’m a full-grown straight guy from Wyoming and nothing makes me happier than blasting a cast recording from a Broadway rock musical and simultaneously singing along in my car—something I do rather often. (My inner windshield has horrible spit-splatters to prove it.)

 

But, you see, my favorite tunes aren’t really your grandparents’ idea of “show tunes,” nor are they anything close to the likes of High School Musical, which I cannot tolerate. I tend to stick with an edgier vibe.

 

Ever since I obtained my driver’s license, my vehicle has been my own personal venue. As I grip my steering wheel that doubles as a drum set, my head pounds, and I can release into my own world—eyes open, of course. I’m operating an automobile.

 

This release is key to my sanity. It’s almost as if I live a double life: student-journalist by day, unstoppable leading man by…well, my own time. And the biggest contributor to my one-man show is a musical called SPRING AWAKENING.

 

This show, based off a banned play from the late 1800s, explores the lives of a bunch of German teenagers experiencing all-too-familiar angst and discovering themselves and their sexuality…accompanied by a mixture of hardcore ballads and striking lyricism written by a guy you probably haven’t heard from since the late 1990s, Duncan Sheik. (Look up “Barely Breathing.” It’s his iconic radio tune.)

 

I discovered my future obsession in January 2007 through a free iTunes Discovery Download, which I downloaded simply because it was called “The B**** of Living,” and I was intrigued. I actually thought Spring Awakening was a band.

 

In the months that followed, I obtained the entire CD and became hooked. The more I listened to each song, the more I related to every lyric…and I didn’t even know the show’s synopsis yet.

 

You know how addictions go. Something in those tunes gave me a high, and I was constantly searching the Internet for a fix…whether it was finally discovering the storyline through its Wikipedia page, or searching nightly for hours for clips of anything related to Spring Awakening.

 

The songs were on a constant loop in my car, and I never grew tired of them.

 

I became a guru. I even obtained leather high-top sneakers exactly like the ones worn on stage by the lead character, Melchior, that were oddly enough from a line by rapper Snoop Dogg called “Doggy Biscuitz.”

 

Finally, after more than a year of feeding my obsession through late-night lurking and sporadic show-related purchases, I made it to New York City to see Spring Awakening, still with some of the original cast, live at the Eugene O’Neill Theatre in the summer of 2008.

 

My family even stayed in the hotel next door. I literally could have slept on the roof of the theatre if our windows opened more.

 

But I didn’t just see the show. I experienced twice in one week…front row center and what’s called “stage seating,” where audience members actually sit on each side of the stage alongside cast members and fellow fans in wooden chairs from the show, and the rest of the audience gets basically to watch you watch the show…not bad for $50.

 

These two nights in June were one of the pinnacles of my teenage years. As an actor, I had never been so completely mesmerized and blown away by a performance before, watching a cast of people my age leap around a stage in turn-of-the-century German attire shouting, “Totally f*****!” among neon lights and brick walls. I can still visualize sitting on stage while the spotlight simultaneously hit me and the character Moritz as he rocked out with a microphone stand—an act my driver’s seat knew all too well.

 

It was funny to think, just months before I’d seen that same guy getting killed by an arrow on “Lost” as Karl, and now we were feet away from each other.

 

That’s why nothing can top the theatre. I even got to meet the cast and get my Playbill autographed at the stage door after the show, where I was referred to as “the savior with the silver Sharpie,” because I planned ahead and knew the Playbill was mostly black.

 

But even after experiencing Spring Awakening live, my obsession didn’t dwindle. The songs were still my daily vehicular release, and I bore a striking resemblance to Moritz on Halloween.

 

However, in January, just day before I write this, Spring Awakening closed after nearly 900 performances. Embarrassingly enough, it was really tough for me to get through. This show that had helped me through so many tough times and gave me a much-needed release wouldn’t be awaiting my return to Manhattan.

 

I found snippets of the closing night curtain call and speeches as well as pictures of set pieces piled onto the sidewalks of 49^th Street. My wooden stage seat was piled amid others in a truck bed, awaiting shipment away from the Eugene O’Neill.

 

No one really understood my loss, either. Sure, I have some friends who know the show, but they were connected to it as I was. They hadn’t experienced the raw intensity of “The Song of Purple Summer” live, nor had they rocked out to the songs as much.

  

Spring Awakening was a huge part of me for two years, and without it I’m missing an integral piece of myself that wearing a wristband with the show’s logo just can’t replace.

 

And until the national tour makes its way to Denver in December, at least I’ll have my cast recording to rock out to in traffic.

Popularity: 24% [?]