I admit, gentle reader, that I had low hopes of this touring production of Pretty Woman The Musical. I have vague memories of seeing the film over thirty years ago, and it was enjoyable but, for me, not remotely memorable. Then when it was announced a few years ago that the film would be turned into a stage musical, once more I despaired at the lack of originality in writing new musicals; must they always be rehashes of movies? Doesn’t the world have enough recycled juke box musicals?

But that was the theatre snob in me talking. With no prior knowledge of anything to do with the stage show, I was surprised – and delighted – to discover this is not a juke box musical at all. All the songs (except Roy Orbison’s Pretty Woman, more of which later) are original and written by that highly successful singer/songwriter Bryan Adams and his regular co-writer, Jim Vallance.

It’s a fairly faithful adaptation of the original film: rich executive Edward Lewis stumbles into a relationship with sassy but hard-up sex worker Vivian Ward because a gearstick in a car is just too much for him to cope with, and she knows how to work one. He pays for her to stay with him for a week at the Beverly Wilshire Hotel, he buys her some top quality outfits, she accompanies him to a few social events (where business deals are closed, of course) and all seems to be going well between them. But then he admits to his lawyer, Philip Stuckey, that she’s neither corporate spy nor business wild child, but a prostitute whom he picked up on Hollywood Boulevard. Stuckey’s no gentleman and instantly reveals to Vivian that he knows all about her. Betrayed, Vivian determines to return to her usual work and lifestyle; but surely it has a happy ending?

David Rockwell’s design creates a sense of Beverly Wilshire elegance with just some simple scenery set against vivid primary colour backgrounds, beautifully lit (or indeed, deliberately not lit) by Kenneth Posner and Philip S Rosenberg’s lighting design which creates atmospheric silhouettes of the performers to contrast with those luscious warm colours. True, the palm trees seem a little wobbly at times, but, you know, that’s the magic of theatre. Jerry Mitchell’s original choreography is fresh and quirky; elegant for the posh hotel setting and streetwise for the down-at-heel Hollywood Boulevard scenes. Tom Rogers’ costume design gives Vivian some outfits to die for – that red opera dress is surely a keeper – and Griff Johnson’s musical direction beefs out the songs with rocky pizzazz and a lightly humorous touch.

The score has a few forgettable songs but plenty of others that both light up the stage and linger in the mind: Vivian’s opening song Anywhere But Here, and Edward’s Something About Her both set up the story beautifully; Edward’s Freedom is a glorious piece of music, and the finale number Together Forever provides a great finish. Bizarrely, given all the original music that precedes it, the use of Pretty Woman as the post-curtain call number seems strangely anachronistic and out of place – and doesn’t come across with the same level of energy as the rest of the score. But I guess the title of the show means it’s compulsory! I must include a word here about the sound quality; sometimes in these big shows there’s some over-amplification and undesired reverb, so that you can’t hear the words. Not a bit of it in Pretty Woman – it’s as clear as a bell, performed at a perfect volume and a delight to listen to.

There’s a refreshing element of fourth wall breaking, primarily relating to the presence of Strictly Come Dancing alumnus Ore Oduba, who’s required to put in a lot of pretty nifty dancing; he gives a tremendous performance as the Happy Man (a kind of Hollywood Everyman character) and Mr Thompson, the Hotel Manager, regularly recognising that the audience has come to see a show and that they’re the ones performing it. There’s a very funny start to Act Two when one of the ensemble comes on stage to start a rousing performance of the song Pretty Woman, much to the crowd’s delight, only for Mr Oduba to intercede and put a stop to it. If you’re going to create artifice, you might as well revel in it.

Amber Davies is superb as Vivian; funny, cheeky, unpredictable and streetwise – yet, when the moment requires it, supremely elegant and classy. She has a terrific stage presence, and her voice is stunning. There’s an excellent chemistry between her and Oliver Savile, as Edward; again, he has a fantastic voice, and they harmonise perfectly. Natalie Paris brings power and comedy to the role of Kit, and there’s great support from Ben Darcy as a surprisingly evil Philip Stuckey, Lila Falce-Bass (on her professional debut) who gives us a crowd-pleasing opera-singing Violetta, and Noah Harrison, whose impish bellboy Giulio steals every scene.

The tour started almost a year ago, and after this week in Northampton, has just a couple more dates now, in Leicester and Sheffield, finishing at the end of September. Great commitment and performances from the ensemble and all the cast make this a thoroughly entertaining treat night out.

Production photos by Marc Brenner

Four They’re Jolly Good Fellows!