Pretty Woman: the Musical

There’s an undeniable buzz in the Lyric Theatre when those five, recognisable, opening notes strike. The audience knows exactly what they’ve come for: the big budget musical glitz, the fantasy of fairytale romance, the iconic fashion, and the quotable lines of dialogue. Pretty Woman: The Musical meets those expectations at QPAC with Hollywood sparkle and Broadway polish, offering a night of familiar comfort and pop-rock nostalgia for fans of the film.

Directed and choreographed by Jerry Mitchell, with a score by Bryan Adams and Jim Vallance, the production doesn’t veer too much toward reinvention. It’s a show that aims to bottle the movie’s charm for the stage, and while it doesn’t quite pop the cork on something new, it pours a generous glass of what their audience craves most: simple escapism.

Samantha Jade, making her musical theatre debut as Vivian Ward, looks every bit the fairytale heroine. Her voice is pure and shimmering, easily the highlight of her performance. Vocally, she glides through the score with ease, delivering warmth and power in equal measure. Dramatically, her performance is carefully polished, impeccably rehearsed, and utterly charming, but rarely does it feel motivated from within. She’s still a pleasure to watch and her beautiful singing and undeniable charisma holds the audience in her orbit.

As Edward Lewis, Ben Hall brings an elegantly restrained stage presence and a pleasant, slightly country timbre to his singing. His solo number, Freedom, performed at the piano, reveals an unexpected vulnerability and a glimpse of depth that the rest of his characterisation only hints at. Together, Hall and Jade are like a well-oiled machine. They’re in sync, professional, and respectful, yet the chemistry between them never quite ignites into fiery passion.

The supporting cast positively brims with life and energy. Glenn Hill, stepping into Tim Omaji’s roles as the ever-cheerful Happy Man and Mr Thompson, is a standout. His comic timing, razor-sharp precision, and easy magnetism light up every scene. Hill’s vocals are strong, his movement crisp, and his sheer joy in performing is infectious.

Michelle Brasier, as Vivian’s roommate Kit, delivers sass in spades. Her powerhouse vocals are gritty and soulful, and her expressive face keeps the humour fresh and biting. She brings a needed spark of authenticity to the production, and the sort of streetwise vitality that cuts through the gloss.

Douglas Hansell’s Philip Stuckey could afford to lean harder into villainy early on, but his eventual comeuppance lands satisfyingly. Meanwhile, Jordan Tomljenovic’s Giulio the porter is a scene-stealer. His flamboyant humour, rubber facial expressions, immaculate dancing, and brilliant comedic timing make him a genuine highlight. One wonders why his name isn’t printed in a larger font in the program, as the show would lose half its heartbeat without him.

Then there’s the opera scene, featuring soprano Rebecca Gulinello and tenor Callum Warrender. In this moment, Pretty Woman transcends its rom-com roots and brushes something truly sublime. Their duet fills the theatre with passion, drama, and sorrow so palpable it almost redeems the emotional restraint elsewhere. It’s an exquisitely heart-wrenching moment of artistry amid the musical sheen.

Visually, the production is lush and confident. The set design by David Rockwell captures the sun-drenched glamour of Beverly Hills with flair: intricate filigree cutouts for the Beverly Wiltshire glow under gorgeously graded lighting by Kenneth Posner and Philip S Rosenberg that evokes everything from dawn to champagne-soaked midnight. The opera sequence, with its clever box and curtain design, is particularly effective. Even the visual joke involving a park bench lands beautifully, proof that the show knows how to wink at itself.