Book: Garry Marshall and J.F. Lawton
Music and Lyrics: Bryan Adams and Jim Vallance
Director: Jerry Mitchell
The 1990 film, Pretty Woman, was originally conceived as quite a dark story, but it was recast as a romantic
comedy with great commercial success – helped, no doubt, by the chemistry and performances of the leads, Richard Gere and Julia Roberts. Following the trend of basing new musicals on existing films, the musical version hit Broadway in 2018, with a book co-written by the original screenwriter and music and lyrics from songwriting team, Bryan Adams and Jim Vallance.
The show is set in the late 1980s, and there is certainly an 80s vibe to the costumes, music and story – think rock power ballads, big hair and big shoulders and a fair sprinkling of casual misogyny and snobbery.
Ruthless businessman Edward Lewis is in town to close a deal to buy an ailing shipyard from its owner to turn a quick buck asset-stripping, throwing the workforce onto the street. On arrival in Los Angeles, he meets struggling street girl, Vivien Ward. Her combination of directness with an undercurrent of naïveté strikes a chord and he hires her, initially for an hour to help him drive his colleague’s stick-shift car, then for the evening, and ultimately as his companion for the week. There’s a definite My Fair Lady feel as she is made over while remaining true to herself. Their relationship starts off as strictly transactional, but what can Edward learn from Vivien?
The show sets out its stall opening with a big production number, Welcome to Hollywood, slickly choreographed in 80s style, it serves to introduce us to the main characters, including Ore Oduba as Happy Man – a kind of everyman narrator – and Mr Thompson, manager of the Beverly Wilshire hotel, who befriends and champions Vivien. While Oduba’s voice may not be the best on stage, his stage presence and charisma more than make up for that. As befits a series winner on Strictly, he glides effortlessly across the stage with some fourth-wall-breaking asides and looks. He keeps his performance just the right side of OTT while injecting flamboyance and a sense of joy as he urges all to find, and then follow, their dreams.
Natalie Paris, as Vivien’s friend and mentor Kit de Luca, is an excellent foil for Oduba, with an impressive vocal range and bluesy voice. Kit’s journey is, perhaps, the most striking as she gradually opens up as to the nature of her dream.
Amber Davies brings us Vivien with an appealing vulnerability under a glossy shell. Her voice has plenty of belt too. One can see why the stitched-up Edward would find her fascinating. Unfortunately, there’s a distinct lack of chemistry between Davies and Oliver Savile as Edward. Savile’s performance is strangely flat, it’s hard to see him as a thrusting businessman and his transformation is therefore also subdued. Nevertheless, he has a fine voice and moves which undoubtedly make up for any shortcomings in the eyes of many audience members.
A special mention must be made of Noah Harrison’s performance as bellboy Giulio. There’s a real feeling of joy in his often outrageously camp performance. In the hands of a lesser performer, this could easily stray into offensive territory, but Harrison keeps it light and fun.
There’s plenty of razzle-dazzle in the choreography and visuals in general. Scene changes are slick and production values are high. But the score is less exciting. It has its moments – Kit’s This is My Life and Vivien’s Anywhere But Here are examples, but overall, it’s too full on too much of the time, with too little light and shade or nuance.
Nevertheless, it’s a raucous and undemanding night out that had this audience on its feet for the finale. But it could do so much more.
Runs until 24 August 2024 and on tour
The Reviews Hub Score
Undemanding
