Photo Credit: Matthew Murphy

Pretty Woman

Review by Laura Kennelly

Pretty Woman: The Musical asks us to go along with an unbelievable Hollywood tale. Now at Playhouse Square through March 27, it draws from the 1990’s Julia Roberts/Richard Gere film hit of the same name. Alas, the musical’s fairy-tale plot [https://en.wikipedia.org/wiki/Pretty Woman] seems old-fashioned and naïve today.

But, on the plus side, Director Jerry Mitchell distracts the audience from the story with vignettes featuring amiable characters, snappy tunes, and precise dancing. As prostitute Vivian Ward, Olivia Valli shows the original Pretty Woman’s sass and style (if not Roberts’ sweet Georgia accent).  Understudy Chris Manuel stepped in on opening night as the wealthy Edward Lewis. Jessica Crouch plays Vivian Ward’s friend and hooker coach Kit De Luca.

 

The ensemble cast deserves praise for bright snippets. Amma Osei’s beautiful vocals in the La Traviata scene evoked opera’s emotional magic. Kyle Taylor Parker added heart to the production playing both the Happy Man as well as the stuffy hotel manager.

 

Another highlight came when (assistant to the director) Nico DeJesus subbed opening night as Giulio, the quirky bellhop. DeJesus, with movements, not words, showed appealing wit and humor.

 

Music Director Daniel Klintworth led a small, but gritty ensemble that sounded bigger than it was. And even though we had to wait a long time for Roy Orbison and Bill Dees’ iconic “Pretty Woman,” it provided an upbeat closing. The audience greeted it with an enthusiastic sing along.

 

Other positive elements in Pretty Woman include David Rockwell’s clever scenic design that allows for quick set changes as walls ascend and descend. Gregg Barnes’ costume design also contributed to the story with outfits that faithfully mimic the film..

 

Bottom Line: I will spare you an old-time feminist rant and merely remark, beyond the dubious thrill of watching filthy rich men pay for friendship and/or sex with poverty-stricken young women, there isn’t much to see in this out-of-date homage to wealth (his) and beauty (hers). The fairy-tale ending is ludicrous—really? Our star climbs up a Disneyfied balcony to tell his feelings? And then what happens? No one knows. Stellar minor characters are not enough to overcome the trite Poor-Girl-Rescued-by-Prince storyline, but they added a major plus to the production.