To a casual observer, this influx of classic films being turned into musicals might seem like a strange trend. It is true, there seems to be a stretch of musicals that are based on films that have the title of "classic" for a reason, from Cruel Intentions to Mean Girls, from An Office and a Gentleman, to Dirty Dancing.
There's a reason why the likes of Dirty Dancing and Mean Girls make such good musicals. All the ingredients are there: characters that take no prisoners, storylines that a lot of people can relate to, and phrases that have become as memorable as the films themselves.
Pretty Woman is no exception, except the more classic moments in this film stem from the main character - Vivian - finding ways to be herself in a world that is so far from her own, yet she still rises above it all. The classic scene of her shopping in the high end boutique for the first time versus the second time, when she undergoes a stunning transformation in everything but personality, as this was already stellar to begin with, of course is the most iconic and recognisable scene.
I went in knowing a little of the film, but with enough ignorance to be able to appreciate the storyline without comparison to the film. I am thrilled to say this was absolutely a performance to brag about.
The performance of Pretty Woman I went to see was at the Curve Theatre in Leicester, and the starring roles of Edward and Vivian went to Oliver Savile and Amber Davies, both of whom burst with star quality. Numbers such as "Long Way Home", "Freedom", and "Anywhere But Here" were particular highlights in showcasing their vocal range and also how well they could sing apart and together. You also just rooted for them to be together, and whether you know the film well or not at all, it's a powerful thing to be able to capture that on stage in any setting, let alone a piece of theatre based on an already well loved film.
Ore Oduba was for me another absolute highlight, playing the part of Mr Thompson and Happy Man respectively, as well as popping up in various other scenes to great comedic effect. It felt like he was directing the show from on stage, and his voice was powerful, which was a surprise as I'd only ever known him from Strictly Come Dancing. His dancing skills, as you'd expect, were slick, making every move look effortless.
Equally impressive in her role as Kit de Luca, was Natalie Paris, a well established power figure in the world of musical theatre, as she has starred in such hits as Six, Les Miserables, and Joseph and the Amazing Technicolour Dreamcoat, to name but a few. Her voice has such a soothing but gravelly sound to it, and you could tell she absolutely enjoyed playing the character because every move, every song was delivered with such unrivalled passion. I was just thrilled to see her in her absolute element, as I'd heard her voice for so many years, but never had a chance to see her until now.
My personal favourite, however, was Noah Harrison, who played Giulio with a playfulness that charmed the audience and coaxed unparalleled levels of laughter in every scene he was in. In the wrong hands, certain scenes and moves could've been a bit too pantomimey, but in his hands it worked, and worked well.
Ben Darcy and Chomba Taulo played the roles of Philip Stuckey and David Morse with such conviction, that the latter got a boo during his bows, whereas you were actively rooting for David's plan to be taken seriously, because you were just so charmed by his character. In a show where eighty percent of the attention is on the leading characters, the characters with less stage time have even more of a task to make sure their performances are memorable, and both actors achieved this.
I was also sincerely impressed with the operatic voices of Lila Falce-Bass and Josh Damer Jennings. I was not expecting those voices, even though the scene was clearly advertising a night at the opera, and as well as belting out those notes, they also squeezed every inch of performance they had out of their bodies so that you could feel the passion in the story they were trying to convey.
The sets were stunning, and the lighting as well helped convey every mood of the story. I think my favourite scene that reflected this was a scene that was pretty much stripped bare of everything but the bed, but the lighting was this deep, rich blue. It just made the scene between Vivian and Edward so raw and romantic and vulnerable in a way that a fuller set may have taken away from.
I think the only problem I had with the show was that the second half lost a little something from the first half, and I'm not sure if it was down to the fact the songs were less lively, or because the story seemed to be a little rushed to get to the ending and that iconic final scene between Vivian and Edward, but it just had a little less sparkle for me, even if the songs were still impressively sung, and even with the dramatic showdown between Vivian and Philip Stuckey, which was also a highlight. I can't help but be a little bit of a sucker for a good scene which showcases a woman standing up for herself, and this show, fortunately, had plenty of those.
Overall however it was an amazing show, and I was smiling and dancing throughout, which is exactly what a musical should evoke in its audience, unless it is centered around a serious or traumatic topic. I wish the cast and crew all the best for their final performances tomorrow at the Curve before they move on to their final tour stop, Sheffield. Tickets can be purchased here https://uk.prettywomanthemusical.com
Thank you to the director, and also choreographer, Jerry Mitchell, and all the other key players behind the scenes, for putting on an amazing show. It looked phenomenal. I also want to pay tribute to the swings and ensemble cast, for bringing every scene they were in to life. It was clear you all enjoyed yourselves and I hope your talents and skills take you on to bigger things in the future.
Thank you to all for making this such an easy and pleasurable review to write. I look forward to seeing what you all do in the future.
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