Book by Garry Marshall & J.F. Lawton

Music and Lyrics by Bryan Adams & Jim Vallance

Directed and Choreography by Jerry Mitchell

Review by Hayley Matear

Tickets from £31.00

Based on the 1990 cult-classic movie of the same name, Pretty Woman the Musical has landed in The Edinburgh Playhouse until April 13th.

The Edinburgh audience is taken to 1980s Hollywood Boulevard, where we meet sex worker Vivian (Amber Davies) and rich businessman Edward (Oliver Savile) who offers Vivian $3000 to stay with him for the week. Intending to keep their arrangement business only, the pair find themselves falling for each other.

A major challenge faced by the production team is modernising outdated aspects of the original 1990 film without losing its essence. This struggle has resulted in the current touring production falling short of the story’s original impact. While Marshall and Lawton’s adaptation aimed to enhance Vivian’s character and complexity, it inadvertently removed the necessary agency and tension to keep the main roles compelling. Pretty Woman finds itself stuck by not introducing sufficient conflict or hurdles, aside from a deceitful lawyer portrayed by Ben Darcy. The screenplay lacks the necessary edge and chemistry to deeply engage beyond surface-level appeal.

But general audiences aren’t here for that; what they are here for, is an uplifting night of dazzling filler. And they will receive heaps of exactly that: dancing, musical numbers, gags, and glitz and glamour – though they may struggle with a couple of these. Pretty Woman the Musical is a guaranteed spectacle night out for some audiences. 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. However, they’re let down by the production writing and some perfectly serviceable, if forgettable new musical numbers from Jimmy Vallance and Bryan Adams including “I Could Get Used to This” and “Long Way Home”.

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 is stellar talent in the ensemble, and sheer delight in the supporting performances, such as Ore Oduba who embodies multiple roles: Happy Man (a narrator/tour guide) and Mr. Thompson, the hotel manager. Although the dialogue may sometimes get overshadowed by the music, Oduba’s strong voice effortlessly captivates the audience and uplifts the atmosphere. Natalie Paris consistently delivers outstanding performances, hitting the mark flawlessly every time. As a former member of Six, she brings the necessary depth to the character Kit, enhancing Vivian’s pivotal role. Paris handles the role with sweetness and sincerity, showcasing her impressive vocal range while skilfully balancing her voice with the ensemble, establishing herself as a true standout performer.

The majority of the remaining cast contributes crucial comedic elements, backing vocals, and well-developed scenes to infuse a feeling of liveliness into the city within a simple yet effective set by David Rockwell. Among them, Lila Falce-Bass shines with her remarkably rich vocals during the opera night scenes of La Traviata (which also showcases Rockwell’s minimal scenery at its best), making a remarkable return for the final acts with equally impressive performances. The stage is designed for choreography that, though adequately executed, lacks innovation; however, it does provide delightful moments for Oduba to showcase their Strictly Ballroom skills alongside the charming Noah Harrison as the hotel bellboy.

Pretty Woman: The Musical adds to the trend of turning successful films into somewhat less successful musical adaptations. At times, it may seem slightly shallow or self-absorbed. Simply donning formal wear or a cocktail dress and assuming this is sufficient for success. Yet, for many, it will suffice. For those seeking respite from the chilly and damp city outside, it offers an idealistic escape and a comforting nod to a beloved movie but falls slightly short as a stand-alone production.  

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