★★★
It is probably true that everybody, at some point, has dreamt of having a fairytale moment.
Photo by Marc Brenner
So it’s easy; when you see Vivian Ward, with her bouncy blowdry and her red gown, hanging onto the arms of a handsome man at the opera, to become awestruck. And that, is what makes Pretty Woman a delightful time at the theatre.
Garry Marshall’s iconic 1990 movie is a staple in any dreamer’s film rotation. The musical adaptation by Jerry Mitchell springs us right into nightfall on Hollywood Boulevard where we meet down-on-her-luck prostitute Vivian who is whisked away by Edward, a millionaire, who bargains: spend six nights together accompanying him on business, and have rent covered for the foreseeable future.
It’s not exactly romantic, but Marshall and J.F. Lawton's book is full of whole-hearted characters that make you really root for them. There’s Vivian’s friend Kit (an enigmatic Natalie Paris with a ready rock vocal), who is after a career change, a bell-boy with a crush (Noah Harrison threatens to steal the show whenever he’s near a wig), and an array of optimistic characters; a hotel manager, boutique store employee and a street seller, played by a multi-roling Ore Oduba. A former ballroom champ (IYKYK), he’s perfectly cast as he leads a ballroom dance (Mitchell's choreography really makes the ensemble pop), and serves as an unofficial narrator.
Flooded in neon night light (designed by Kenneth Posner and Philip S. Rosenberg), pocket rocket Amber Davies is an absolute triumph. Stepping into the knee-high snakeskin boots, Davies’ Ward is bright, and crucially, devilishly funny.
It’s only a shame she’s awarded one big number in the show, and the majority of Bryan Adams and Jim Vallance's largely forgettable country rock score goes to Edward. Oliver Savile sings his repetitive ballads just fine, but it does him a slight disservice and creates something of a disconnect; putting him, a man who is scared of heights but wants to best the best up top, on the outside looking in. This isn't helped by David Rockwell's sparse faux luxe staging that unfortunately fails to fill Curve's deep stage - it could've benefit from more intimate sequences to drum up the romance, more so than the raunchy scenes.
While there may be one too many songs about dreams, and little else, Pretty Woman offers some lovely surprises: an unforgettable opera scene (kudos Lila Falce-Bass), and some fun in-jokes that land with the audience. There’s plenty of fun here to enjoy.
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