Pretty Woman: The Musical

Such an utterly feel good rom-com musical comedy, the musical genre’s classic girl meets boy formula fits the love story of the movie Pretty Woman as perfectly as a glove (almost). I think we all know what the twist is. This Cinderella meets her prince story, with more than a hint of Pygmalion, is the basis for an engaging musical love story, and a joyful escapist evening’s entertainment.

It’s so easy to fall for Samantha Jade’s fresh, vital take on Vivian Ward from the outset, especially, I suspect, if like me, the 1990 movie has dimmed a little in your memory. As Edward Lewis, Ben Hall’s measured reserve was a perfect foil to her exuberance from the outset. Everything bubbles outward with her, while everything simmers beneath the surface with him. Their polarity is clear, yet thanks to the movie we know they’re going to get together, so in the end what matters is do we like the musical iteration of these characters, and care about them finding each other beyond their transactional arrangement. I did! They really are a likeable and engaging pair of leads.

Because of their facades, the believability of the emotional truth of the internal monologues they sing is as significant as they tentatively discover their feelings, inch by inch, in the scenes.

Bryan Adams and Jim Vallance’s score may not be among my favourite Broadway scores, but it’s a solid one, with all the right elements, which serves the story well.

At the opening, the LA neighbourhood feels more like a street party than a working girl’s pick-up spot with Tim Omaji as Happy Man, and Michelle Brasier and Vivian’s best mate Kit De Luca, leading a small vibrant ensemble in the opening number, “Welcome to Hollywood”. Throughout the show the talented triple threat Australian ensemble is marvelous, both as a group, and stepping out for well-executed character moments.

Omaji and Brassier provide the show’s two substantial supporting performances, with Omaji delighting in easily the show’s best and funniest dance routine, when he’s switched to the persona of hotel manager, and leads a ballroom sequence which has the audience in stitches.

The transactional nature of the plot remains, yet it’s mostly underplayed, with the rom-com to the fore.

Vocally, Samantha Jade, Ben Hall are splendid, in the leads, as are Tim Omaji and Michelle Brasier, while Rebecca Gulinello and Callum Warrender really impress in the opera scene.

Tom Rogers’ costuming was a highlight, in particular the series of stunning creations for Vivian, which Samantha Jade wore to perfection. And, accustomed as we’ve become to hi-tech and projected sets, that David Rockwell’s design, using suggestions of locations flown in, complemented by props moved on and off in full sight was a reminder that a simpler approach to a big show is just as satisfying.

I’ve alluded Jerry Mitchell’s choreography of the opening and the ballroom dancing scene, but elsewhere, ensemble and dance work embellishes the movie’s relatively slender plot yet never overwhelms. It’s often used to creatively establish a sense of place and occasion. A splendidly evocative, highly theatrical movement sequence, a personal favourite of mine, was the immersive opera scene.

I felt a smile and a chuckle cross my face as Vivian’s prince climbed her tower (fire escape stairs) for their happy ending, before we all joined in on a rousing version of the Buddy Holly hit which shares its title with the show.

I thoroughly enjoyed my escapist evening of musical theatre and its slightly off-beat love story!

Neil Litchfield

Photographer: Daniel Boud

Click here to read David Spicer's review with Samantha Jade and Ben Hall