Pretty Woman
Milton Keynes Theatre
19th March 2024
‘Pretty Woman’ is yet another one of those beloved films from the 80s and 90s that have been adapted into a stage musical in recent years. We all know what a mixed bag this process can be, with many asking why do these films need to be turned into musicals, and questioning if the industry is suffering from a shortage of new ideas. Of course it makes good business sense, as using an established title guarantees a ready-made audience, and titles don’t come much more recognisable than ‘Pretty Woman’. The 1990 film made Julia Roberts a household name, and often features highly in lists of audiences’ favourite rom-coms. The stage version had a well-received try out in Chicago, followed by a successful Broadway run (both helmed by our very own West End favourite Samantha Barks), and a stint at the Savoy Theatre in London. Now regional audiences get their chance to take a nostalgic walk back down Hollywood Boulevard, as the musical plays Milton Keynes Theatre this week as part of it’s UK tour.
Businessman Edward Lewis (played by Oliver Savile) finds himself lost on Hollywood Boulevard, and meets down-on-her-luck “working girl” Vivian (Amber Davies). Following an initial attraction, Edward offers Vivian $3000 to stay with him for the week, so that he can fulfil his work and personal needs without the worries of romantic drama. Desperate for cash, Vivian accepts to being his “beck-and-call-girl”, accompanying him to various business events while he tries to finalise a billion-dollar deal alongside his lawyer Philip Stuckey (Ben Darcy). Over the course of the week, Vivian finds herself a world away from the streets she knows and best friend Kit (Natalie Paris), and begins to discover a sense of self-worth that she didn’t know she had.
‘Pretty Woman’ has some hefty creative names behind it (originally directed and choreographed by Broadway heavyweight Jerry Mitchell, and scored by Canadian rock legend Bryan Adams), and while it’s nicely enjoyable fluff, it also sits so squarely in the middle of road that it feels strangely vapid at the same time. Mitchell is a celebrated choreographer but is less gifted as a director, and his efforts here (recreated by Dominic Shaw) being a facsimile reproduction of the film’s narrative delivered two-dimensionally on the stage with no sense of “theatre” behind it. Transferring it to the stage adds nothing to the experience, with the book scenes being faithful retreads of Marshall’s original script (with additions by L E Lawton) and dance numbers all being very nice but lacking any kind of “wow” factor. Moments that felt genuine in the film (largely due to Roberts’ tangible chemistry with co-star Richard Gere) feel more forced here, and while all the key one-liners from the film are included, none of them land with the same spark. The score is similarly average and largely forgettable (with equally banal lyrics, co-contributed by Jim Vallance), sitting firmly in the “soft rock/pop” camp with little to live in your head on the way home.
‘Love Island’ winner Amber Davies leads the cast as Vivian, although Davies has more than earned her stripes in the theatre industry following work in ‘Back To The Future’, ‘Bring It On’ and ‘9-To-5’, and proves herself to be a capable and likeable lead with a strong voice. She doesn’t match the natural effortless charm that made Julia Roberts an instant superstar in the role, but she does well. Oliver Savile is also suitably charming as Edward, it’s a thankless role with little chance to show off (the weak songs for the character don’t help), but he remains as watchable as ever. Natalie Paris shows off her “Six”-honed riffs with a fantastic rocky edge, but doesn’t make the most of the comedy inherent in the role of Kit, and could push it further. Ore Oduba puts in a great dual turn as Happy Man and hotel manager Mr Thompson, showing off his ‘Strictly’ training with a great dance scene and having some fun moments, along with a lovely chemistry with Davies. Special mention also has to go to Lila Falce-Bass and her stunning soprano vocals, and also Noah Harrison who makes the minor role of bellboy Giulio memorable and endearing.
‘Pretty Woman’ is unchallenging escapism, a nice way to kill a couple of hours that you’ll forget by the time you leave the theatre. The cast do well with what they’ve got, and audiences looking for a good time reliving a story they love won’t really care about its theatrical shortcomings. This modern “Cinderella” story isn’t a bunch of rags, but it’s a pretty long way from riches too.
‘Pretty Woman’ runs at Milton Keynes Theatre until Saturday 30th March 2024 before continuing on its UK tour.
Performance runtime 2 hours 30 minutes including interval.
