If Blonde Counts, Smart Girls of Color Coming to Broadway

Associated Press

A musical version of "Legally Blonde," based on the hit movie starring Reese Witherspoon and the novel by Amanda Brown, will open on Broadway in April 2007.
. . . the show will mark the Broadway directorial debut of Jerry Mitchell, who won a 2005 Tony Award for his choreography for the revival of "La Cage aux Folles."

"I love the story," Mitchell said Tuesday of his new project. "It's so positive, especially for young girls to believe in themselves. And it's fun to root for a leading character you care about."

Mitchell, who also created the dances for "Hairspray" and "Dirty Rotten Scoundrels," also will do the choreography for "Legally Blonde."

The show will open April 26, 2007, at a Broadway theater to be announced. Preview performances begin March 30. San Francisco will see the musical first, with a five-week engagement at the Orpheum Theatre beginning in late January.

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Female Forms as Sm-Art

Submitted by JJ Ross on 26 April 2006 - 11:57am.

More legally blonde culture in New York - I'm still learning how images and art work, but I managed to get Hillary Clinton's new blonde self as far as my own blog, where I then compare her cultural image to this mouth-watering Frenchwoman and start in on some cultural questions, such as:

Do I exclude blondes from my inclusive women-of-color images? Do you? Is this changing and if so, what influence either way is Hillary?

What are the differences between blondes on Broadway in three dimensions with more moving than their hair, and these ultra-intelligent portraits of, by and for smart girls, in how they satisfy our different hungers?

Which would you stare at and steep yourself in, and why?

And of course the ultimate in unflinching self-examination a la MFK Fisher: would I ever ACTUALLY legally, politically vote for any woman (blonde, grey or otherwise) as my real-world leader? Would you?
Maggie Thatcher was a redhead but I'm damned if I can figure out why that should matter on either side of the Atlantic . . .

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Superman is a foreigner in a country composed of foreigners; he is, in the phrase of one literary critic, a "Krypto-American immigrant." On Krypton his name was Kal-El, the Hebrew phrase for "god that is light" in weight--that is, a deity who does not oppress and is so light taht he scoffs at the laws of gravity...In America the man of steel is an outsider who succeeds in a new world. He does so by applying his superhuman powers in a way that Jews typically wished others to behave--by helping the weak...Superman is no Nietzschean Ubermench; instead, he is a sort of New Dealer. Conceived during the presidency of Franklin D. Roosevelt, to whom Jews showed deeper loyalty than did any other ethnic voting bloc, Superman signified the yearning to protect the vulnerable and to stimulate the confidence-building efforts at nationalist recovery. That is why he reliably fights for "truth, justice, and the American way." In his humanitarian acts, he is more effective than the golem who protects the jews of Prague; the benefactor whom Siegel and Shuster fantasized into being is less parochial and this more democratic as well.

— Stephen J. Whitfield in his chapter in Cultures of the Jews, edited by David Biale