It’s Lacan: The Musical!
Ok, not really. But I did want to talk more about the Broadway adaptation of Legally Blonde and the ways in which it, in many ways, goes beyond the source material in terms of the Lacanian narrative.
To take the two examples I brought up in class; the first is the scene revolving around the prosecution’s witness. In the film, he’s given the name “Enrique,” and his boyfriend is called Chuck. In the show, by contrast, he is “Nicos Argistacos” (which got a huge laugh) and his boyfriend is “Carlos.” In short- the pool boy is way more “foreign” on stage than he is on the screen. This sets up nicely for the musical number centered around him; “Gay or European,” which goes like this.
“Is it relevant to assume/that a man who wears perfume/is automatically radically fey?”