Pretty Woman, the 1990 film, was a global blockbuster, propelling Julia Roberts to superstardom and showing a softer side to Richard Gere’s usual grittier leading roles.
Pretty Woman the Musical first opened in the US in 2018, with its UK première coming a month before lockdown in 2020. It then reopened in 2021, closed in 2023, and this latest production is now coming to the end of a UK tour.
Fans of the film will be pleased to note that much of the story and dialogue (and outfits) are reflected in the stage musical, although a chunk of the film’s charm seems to have been lost somewhere in the process. Lockdown might have presented an opportunity to revisit the book, as the story and two main characters are weighed down by stereotype and cliché: “tart with a heart” Vivian meets “lonely rich man who works too hard” Edward and they end up falling in love, but not before he has spent a fortune on hiring Vivian for a week to act as his escort for business and social functions plus several shopping sprees to make her look more “presentable”. This adult fairy-tale storyline is in need of a refresh.
The film’s director, Garry Marshall, also wrote the book for the musical (with J F Lawton, the film’s screenwriter), with music and lyrics by rock megastar Bryan Adams and his long-term collaborator Jim Vallance. There are, therefore, some top-notch ingredients in this production, but somehow, the recipe doesn’t quite work.
The writing is the main issue, with the production often making the mistake of repeating in song what has just been said in dialogue and little development of rather shallow, one-dimensional characters. Amber Davies as Vivian and Oliver Savile as Edward do their best, but Vivian’s character, particularly, leaves little for us to root for and get behind.
It is left to Ore Oduba doubling as Happy Man and Mr Thompson, concierge of Hollywood’s Beverly Wilshire Hotel, to provide humour and charm. His fun dance routine with Giulio (Noah Harrison) enabled a Strictly reference and opportunity for Ore to momentarily break the fourth wall.
Natalie Paris as Kit, Vivian’s roommate and mentor as the more experienced prostitute, has a supremely powerful voice and impressive vocal range, which we don’t hear enough of, unfortunately.
Adams and Vallance’s music has an ’80s rockish vibe to it, with songs hinting more at chart-style power ballads and anthems. David Rockwell’s scenic design gives clear distinctions between the various locations of the Hollywood strip, Rodeo Drive, and glamour of the Beverly Wilshire.
This show is virtually sold out for the week, giving fuel to the idea that the success of a story told in one medium will likely mean seats sold when adapted for the stage. Sadly, this also leads to the view that those behind Pretty Woman The Musical are hoping to cash in on a successful franchise with this formulaic musical-by-numbers.