L- R Adam Pascal & Olivia Valli – Courtesy of Matt Murphy. Used with permission.
Who doesn’t love the 1990 romantic comedy “Pretty Woman,” starring then-America’s Sweetheart Julia Roberts and premier leading man Richard Gere? Like countless others, I saw it multiple times, so when I heard it was transferred into a Broadway musical, I couldn’t’ wait to experience it. Well, I finally got my chance on Tuesday night at Murat Theatre at the Old National Centre when the national tour, presented by Broadway in Indianapolis, opened its run of “Pretty Woman: The Musical” that continues through Sunday February 29. Confident my high expectations would be met, unfortunately, though mildly entertained, I was mostly underwhelmed.
Whenever I see a musical derived from a film, i.e., “The Producers,” “Hairspray,” “Sunset Boulevard,” and “Billy Elliot,” just to name a few, I always strive to avoid comparing them, recognizing they are two different art forms. In many cases, the musical versions are satisfying because of the way the music and dance embellish the story and add a special sparkle to the original version. In the case of “Pretty Woman, The Musical,” I thought, as a work of art, it lacked effervescence and was in the end, ordinary, if not pedestrian.
The Cinderella story of the wealthy businessman who falls in love with the underdog hooker, whom he picks up on Hollywood Boulevard, remains intact in the book of the musical. However, my criticisms have more to do with some of the show’s creative elements. They include the banal sight gags that give the show a corny, burlesque quality, the uninspiring rock score by Bryan Adams and Jim Vallance that is simply unmemorable, choreography that lacked panache, and an overall structure that was predictably formulaic. On the plus side, the show’s effective lighting, sets and costumes provided the show some of its best attractions, as did the solid six-piece orchestra.
“Pretty Woman: The Musical” Courtesy of Matt Murphy. Used with permission.
That is not to say there were not positive features of this production that held my interest. Olivia Valli (granddaughter of Four Seasons frontman Frankie Valli) showed star power as Vivian Ward, the spunky prostitute with the heart of gold, and Tony-nominated Broadway luminary Adam Pascal (“Rent,” “Aida” and “Memphis”), as Edward Lewis, turned in exceptional performances. Together, they showed convincing chemistry, while turning in outstanding acting and vocal performances in a vehicle suffering from mediocrity, which fortunately, they enhanced through the force of their substantial talents.
Other standout performances were turned out by Amma Osei as Violetta and Christian Douglas as Alfredo in a duet from the classic “La Traviata,” a beautifully staged scene within the show, in which Edward and Vivian attend the opera, which she is experiencing for the very first time.
Also praiseworthy was the hardworking triple-threat ensemble, all of whom showed substantial energy and commitment to the material, doing the best with what they were given.
As an advocate first and a reviewer second, I never totally discount any artistic work and “Pretty Woman: The Musical” is no exception, as the production certainly has its share of creative accomplishments. At the same time, recognizing that everyone has their own preferences and tastes, I encourage those, whose values and standards may differ from mine, to see it and reach their own conclusions.
If anything, how often does one get to see a Broadway show in their own backyard, while sitting in a grand, historic theatre? Also, what a gift to safely experience live entertainment and enjoy a bit of escapism during a time of continued illness, loss and uncertainty. That in itself is worth the price of admission.
Tickets for “Pretty Woman: The Musical” are on sale now at ticketmaster.com. The performance schedule will be Friday and Saturday at 8:00 p.m., Saturday matinee at 2:00 p.m., Sunday matinee at 1:00 p.m., and Sunday at 6:30 p.m.
