Pretty Woman
Romp-Com
Pretty Woman, The Musical
by Bryan Adams and Jim Vallance, book by Gary Marshall and JF Lawton
ATG Productions at the New Wimbledon Theatre, until 17th February, then on tour until 28th September
Review by Michelle Hood
Probably 99% of the audience entering the Wimbledon Theatre to see the musical version of Pretty Woman would have had a preconceived idea of what to expect – and, by the end, it seemed the majority were not disappointed in their expectations.
Pretty Woman, book by Gary Marshall and JF Lawton, is on a long UK tour with Wimbledon week sandwiched between dates in Hull and York. This is a slick and well-produced piece of musical theatre, providing audiences with a massive injection of light-hearted escapism. Nothing wrong with that, especially given the familiar storyline involving a rags-to-riches heroine. Some could argue whether such strong independent women of today really want to be swept off their feet by some passing billionaire, even with the added good looks of a Richard Gere type but, in the name of light entertainment, why not?
So, welcome to the world of musical rom-com and a re-working of the old story of Cinderella meeting her Prince Charming, although in this version, poor Cinders is reduced to a sex worker plying the streets of LA, while her Prince is a rich businessman seeking to pay a high-class escort for six days work.
Jerry Mitchell’s production, despite the injection of a musical score, certainly keeps faith to the original film. It even has a cosy feel of nostalgia, where even the sex workers parading along Hollywood Boulevard, clad in their colourful skimpy leather, denim and fishnets, all seem cute and homely. In fact, there’s nothing sordid here as the whole musical has an uplifting feel, appropriate perhaps, because we’ve been taken back to the more innocent times of the late 1980’s. Of course, the added musical score by Bryan Adams and Jim Vallance, lifts what could be a seedy storyline into something much more wholesome and enjoyable with some fine punchy songs and lyrics.
The leading roles are played by Amber Davies as Vivian (the Julia Roberts role) and Oliver Savile as Edward (the Richard Gere role). Amber Davies first achieved celebrity as a contestant on Love Island and has since appeared in West End productions of 9 to 5 and Back to the Future, as well as being a current contestant on ITV’s Dancing on Ice. She brings a confident dynamic to the part of Vivien, and her portrayal manages to mix a tough exterior with a homely charm and astuteness. The scene where Vivien gets her own back on the snooty shop assistants on Rodeo Drive is both funny and priceless.
The song lyrics, slightly predictable, follow Vivien’s increasing confidence, starting from her opening poignant solo Anywhere But Here, despairing of the low-life person she’s become, to the upbeat joyful exuberance of Luckiest Girl in the World celebrating “I made a deal for 3,000 bucks!” Ultimately, of course, she takes control of her destiny, musing in her final solo I Can’t Go Back. “It’s true I sold my body, but I never sold my soul; I learned I don’t need anyone, it’s me who’s in control.”
Oliver Savile brings an energy and conviction to the character of Edward and in no way is his part a simple foil for Vivien. He fleshes out his character well and the scenes between the two protagonists are effective and reflect a plausible growing relationship. His two solo songs, Something About Her and Freedom, are delivered with passion and sincerity. Their closing boy-gets-girl scene is also quite amusing, referring back to Vivien’s earlier childhood dream where, like Rapunzel, she was trapped at the top of a tower (tenement fire escape) waiting to be rescued by her hero on a white stallion (a sidewalk bench displaying an advert with a horse).
Another performer catching the eye is the impressive Natalie Paris playing Kit (Vivian’s fellow sex worker), displaying a strong stage presence combined with an extensive vocal range, especially when belting out Rodeo Drive. Equally impressive is Ore Oduba in his double role as the hotel manager and a character called simply Happy Man. Credit also goes to Noah Harrison playing the madcap dancing bellboy Giulio and Lila Falce-Bass hitting and sustaining the operatic high notes in a rendition of the “drinking song” from La Traviata.
There is also some excellent choreography to enjoy, with many energetic song and dance numbers including the especially bewitching On a Night Like Tonight and A Night at the Opera. The production numbers, with much high-kicking dance routines, are performed with razor sharp precision by the chorus and most enjoyable are the glitzy high-camp dancing “hotel staff” and the elegant dancing couples in the La Traviata opera scene.
Of course, the moment that gets the audience to their feet comes at the very end of the show, on hearing the famous opening drum beat and guitar chords of the titular Roy Orbison classic.
Without doubt, an enjoyable musical rom-com, with a storyline nod to Pygmalion, as well as shades of the Parisian courtesan Violetta from Verdi’s La Traviata but, more pertinently, a parable about a relationship where each character enables the other to escape from their immediate world – his escape from the dubious business of asset-stripping and her escape from a life of prostitution.
Then again, probably better just simply to enjoy the final sing-along, together with the cast and audience, to the strains of Oh, Pretty Woman … … Mercy!!
Michelle Hood, February 2024
Photography by Marc Brenner
Mark Aspen 