Book by Garry Marshall & J.F. Lawton

Music and Lyrics by Bryan Adams & Jim Vallance

Directed and Choreography by Jerry Mitchell

Tickets from £13.00

Look out your best cocktail gown or tails, strap on those heels, and rent whatever you can to make an impression – as Pretty Woman the Musical makes a Scottish debut on its tour of the UK as it’s oh, walking down the street, arriving at The Theatre Royal, Glasgow, until November 24th.

Adapted for the stage, a musical no less (surprise), from the cultural and box office hit film Pretty Woman, Garry Marshall and J. F. Lawton’s book follows the same beats as sex worker Vivian is somewhat new to the game, but with a canny best-friend, and the interest of a debonair businessman with plenty of disposable income, Vivian might make this month’s rent. And who knows, she may just find something a bit more than diamonds and cash.

A tremendously taxing issue for the production is the unsavoury elements of the original film that the team can’t find a way to update without coming over as a touch lifeless. The resulting concoction means that the current touring production is a shadow of the story’s former self. Where Marshall and Lawton’s book has attempted to sweep aside many of the simplistic elements of the source material and make Vivian a stronger and more dimensional character, they’ve stripped away much of the agency and tension necessary to make the central roles engaging. Pretty Woman falls into its own trap of not providing enough in the way of antagonism or obstacle (outside of a slimy lawyer played by Ben Darcy). It just lacks enough bite and chemistry in the writing to captivate outside of the superficial.  

But general audiences aren’t here for that. And what they are here for, is uplifting filler. And they will receive heapings of precisely what they want: dancing, musical numbers, gags, and glitz and glamour – though they may struggle with a couple of these. Pretty Woman the Musical is a guaranteed dazzler night out for some audiences, and all the power to them to enjoy the show. Following the beats of the film, without rocking the boat, it’s a live experience of a beloved classic, with some stellar costumes from Tom Rogers, and some genuine stand-out moments of entertainment.

A draw for many and looking to continue their string of musical medleys and successes, Amber Davies (who is quickly now lesser known for Love Island and more of their stage roles) steps into the boots of Julia Robert’s Vivian – a sex worker who agrees to a week of companionship with a wealthy client, and finds themselves swept up in romance, and shady business deals. With lead roles in Bring It On, 9 to 5, and Back to the Future, Pretty Woman is a familiar position for Davies, but one with a more definitive responsibility. They’re let down by the production writing and some perfectly serviceable if forgettable new musical numbers from Jimmy Vallance and Bryan Adams, which finds Davies without a whole lot left to do. They’re one step behind the necessary energy and control to lead the production, as Davies’ voice struggles to find much emotion in their vocals.

The writing causes similar issues for Oliver Savile’s Edward, a performer who (like Davies) usually excels with a strong stage presence. The musical’s shorter runtime of a rough hour for each act points in the direction that there isn’t enough time to develop a fluid and dynamic relationship between the pair. Still, by the second act both Davies and Savile find a rhythm with one another, Davies also claiming some of that missing fire, which should have been present throughout.

There’s a superb talent and undeniable joy from the supporting performances like Ore Oduba who takes on a few roles: Happy Man (a narrator/tour guide) and Mr Thompson, the hotel manager. The diction can occasionally be lost in the score, but Oduba has a set of solid pipes that sweep into the audience and lift the mood with ease. While Natalie Paris, completely and expectantly, nails the mark on every occasion. The Six alumni channels the necessary and missing dimensions as Kit, which Vivian needed to become a defining role – but again, this is principally down to the writing and less Davies performance. It’s a sweet, sincere role, and the vocal capabilities of Paris are in no question, clearly restraining and controlling their voice from overpowering the ensemble – a true star performer.

Much of the remaining ensemble turns in the much-required comedic elements, backing vocals, and fleshed-out sequences to offer a sense of ‘liveness’ to the city in a sparse if effective set from David Rockwell. But one stand-out is Lila Falce-Bass, who brings exceptionally rich vocals to the opera night sequences of La Traviata (also Rockwell’s best use of minimal scenery), returning for the final numbers to equally impressive standards. The stage is spaced for choreography that, while executed well enough, is neither engaging nor revolutionary but does lead to sweet moments for Oduba to flex their Strictly Ballroom muscles with a charming Noah Harrison as the hotel bellboy.

It’s not big, or huge, but it certainly isn’t a mistake. Pretty Woman: The Musical does contribute to the bloat of successful films being adapted into less-successful musical adaptations. It comes over as a touch hollow, even vain, in moments. Throwing on some tails or a cocktail gown and assuming this is enough to carry through to fruition. For many, it will be. For those looking to depart from the cold and wet city outside, Pretty Woman the Musical is an idealistic escape and spark of familiarity for a much-beloved film. As a completed product, it’s a bit bland, if palatable – with too much going through the motions to really feel like the production has been earned.