We have a chat with the director Jessica Fallico and actor Jacinta Robertson (playing Serena and understudy Brooke) from Packemin’s Legally Blonde
Jacinta, what drew you to the role of (Serena)?
Serena is me, only American!
Do you share an traits with the character?
Absolutely! I was a cheerleader for the NRL Penrith Pantherettes, so Serena’s bubbly, out-going personality and dance skills are second nature to me. She’s also full of sass, opinionated and knows exactly what she wants.
What was the biggest struggle in bringing this character to the stage?
Vocal stamina and breath control! Being able to sing as normal after I’ve danced full-out for a few minutes, has been something I’ve had to work really hard on.
Do you have a ritual of things you do before you go on stage?
Not so much a ritual but I always make sure my body/core has been activated so I’ll do a really good warmup, do a couple of push-ups, take a few deep breaths and then I’ll say ‘Chookas’ to the cast!
What role is the dream role that you desperately want to play?
I have a few! ‘Bombalurina’ in ‘Cats’, Cassie in ‘A Chorus Line and Velma Kelly in ‘Chicago.’
And Jessica, You have Co-Directed & Assistant Directed a lot of shows for Packemin (Wicked, Cats, Fame, Miss Saigon and Shrek) now it’s time to take over the reigns as Director. Take us through the emotions that you have experienced in this move.
I have experienced every emotion! I become so invested in projects like this one—I think it’s important to—I care so much about every element that goes into it that my passion is heavily entrenched in the overall process. Going from Assistant Directing and Co-Directing has been an exciting and refreshing change. It was so humbling to be offered to direct ‘Legally Blonde’ and I have learnt and grown so much form the process, both personally and professionally. I think creatives always doubt themselves at different stages of development and it can be tricky to negotiate your emotions sometimes, but I also think that doubt is healthy, within reason, it forces you to step back and question your decision making, if that is the right move in the given scenario or if there’s another option that could be better, it keeps you thinking and never allows you to be complacent. I have had such support from the creative team and producer that the transition has not felt like a shock to the system; it has been entirely fruitful and welcome.
Why this play for your first solo direction. Did you intentionally seek it out or is it an opportunity that you have taken?
I didn’t intentionally seek it out but I feel the right work came to me at the right time. I have always loved this musical and have always had it in my mind as a piece I’d love to be involved in. Before I became involved in production I always watched musical theatre in awe, desperate to be a part of the joy it created and unsure as to how I could be (since I could never sing or dance!). I saw Legally Blonde in London’s west end many years ago and it was one of the musicals I watched in wonderment, hoping somewhere inside that I’d be a part of this world one day and it’s an absolute pleasure to have found myself smack bang in the middle of this fantastic show.
How does the relationship evolve between director, musical director and choreographer throughout planning and rehearsals?
These relationships are crucial. In order to create good work, the director, musical director and choreographer must all be on the same page. There needs to be a good sense of balance between all three elements—music, choreography and scene work—and have focused attention paid to each department so that so that no element suffers. This balance comes down to clear scheduling and being smart with our precious and limited rehearsal time. This is such a dance heavy show, dance numbers transition through multiple scenes, with various characters and different styles. Sally Hare, the choreographer, and I worked really well together, we saw each others vision and developed ideas that were fitting of time and place doing justice to the story and it’s characters.
We have all seen the movie and maybe even a version of the musical. Is this a celebration of the classic or is it bringing something new?
I think this is a celebration of the classic. I think with a musical adaptation of a film you cant deviate too much from what people know and love, that’s why the adaptation has been made in the first place, as a homage to something we all know and love. There are elements that we’ve given new energy to, we’ve re-vamped some moments to make the story telling clearer or justify the action but over all it’s not far removed from the film, but the story is well and truly enhanced by these wonderful songs that bring the comedy and drama to the forefront.
And now a few questions for both of you:
Favourite production you’ve been involved with (apart from this one!)?
They both share the same production Wicked in 2016 with Packemin, Jessica says “It was my first experience working within musical theatre and it had me so inspired from the outset. The musical is so exceptionally written, the production quality at Packemin is sensational and the team became like a family, it was a wonderful experience and one I’ll never forget.”
What was the first musical song you ever sang on stage?
Jacinta: “We’re going back a few years here! My first ever song I sang on stage was ‘On The Good Ship Lollipop’, I was a 3 year old performing a song and tap. As for Jess, “I will sing up a storm but I wouldn’t put anyone through the agony listening to me do it onstage, I’ll save it for the shower!!”
And Finally, why should we come see the show?
Jacinta: “The cast are absolutely fabulous and we are supported by a wonderful orchestra and crew”.
Jessica: “Because it’s fun—that is first and foremost why you should see it, everyone needs a little fun in their day! On top of that it’s a good story, it’s empowering, it’s provoking, so beautifully performed and utterly joyful—there’s no reason not to see it!”
