“Pretty Woman the Musical” — Written by Garry Marshall and J.F. Lawton. Music and Lyrics by Bryan Adams and Jim Vallance. Based on the Touchstone picture written by J.F. Lawton. Direction and choreography by Jerry Mitchell, recreated by DB Bonds and Rusty Mowery; Music Supervision, Arrangements and Orchestration by Will Van Dyke; Scenic Design by Christine Peters; Costume Design by Gregg Barnes; Lighting Design by Kenneth Posner and Philip S. Rosenberg; Sound Design by John Shivers. Presented by Crossroads Live at the Emerson Colonial Theatre, 106 Boylston St., Boston, through March 3.
By Shelley A. Sackett
Pretty Woman the Musical is much more than a theatrical remake of the 1990 rom-com film that launched the career of then-21-year-old Julia Roberts and her trademark mile-wide smile. The big-budget Broadway show stands on its own as a supremely enjoyable night of big pageantry, from the live orchestra, fabulous set, choreography, and humor to the terrific cast, who sing and dance their hearts out for two and a half hours (one intermission).
On Wednesday night, there was not an empty seat in the exquisite Emerson Colonial Theatre. The standing ovation during the curtain call was thunderous.
From the opening song, “Welcome to Hollywood,” it is clear that Happy Man (the narrator and Hollywood godfather) and Kit (Vivian’s best friend and fellow hooker) are played by two outstanding talents. Adam Du Plessis, as Happy Man, the Beverly Wilshire Hotel concierge, and other deliciously witty roles, is the total package — a charismatic actor with magic dancing feet and vocal prowess to match.
Channing Weir, luckily substituting in the role of Kit, did nothing short of chew up her role and spit it out. Her face is emotively plastic in a charming Julia Louis-Dreyfus way and her vocal chops and comportment are self-assured and engaging. She a spit-fire who shoots from the hip. Plus, she is one helluva dancer.
As Giulio, the usually mute bellhop, Connor Kabat steals every scene he’s in. This exceptionally gifted, newly minted B.F.A. from Binghampton is one to keep your eyes on. He lights up the stage every time he graces it.
The plot line hasn’t changed much from the film’s simple story. In a nutshell, Edward Lewis (Chase Wolfe, whose powerful vocals include a delightful country twang) is a billionaire corporate raider who ends up on Hollywood Boulevard needing directions. There, he meets Vivian Ward (Ellie Baker, a Julia Roberts look-alike), a spirited, affable hooker who offers to drive him to his hotel. He pays her $3,000 to stay with him for the week he will be L.A. on business. During that time, they get to know each other — as in really know each other — and fall in love.
They realize how much they have in common. (“You both screw people for money,” Edward’s lawyer points out). Their lines of work require them to keep their emotions under tight wraps, and when they slowly soften those edges to allow each other in, it adds a tiny pinch of protein to an otherwise confectionary three-course meal.
Edward will introduce her to the refined fineries of life; Viv will convert him from an aloof, uptight businessman into someone in touch with his inner spirit.
This is hardly thought-provoking dramaturgy, but then again, it doesn’t pretend to be.
Wolfe and Baker don’t share the same charisma or presence as their predecessors. But without the blinding brightness of Julia Roberts and Richard Gere in these roles, the subtlety and sweetness of Viv and Edward’s budding relationship is allowed to bask in a ray of sunshine.
The real spotlight in this production, however, is the production. Costumes (Gregg Barnes) are magnificent, from elegant gowns to guttersnipe Hollywood Boulevard to Vivian’s iconic red dress. Barnes has really captured the 80s/90s flashy style, especially in “Rodeo Drive,” the musical number that pays homage to the uber-rich, famous, and fashion-obsessed. It also features Weir as Kit in a show-stopping performance (think Jo singing “You Oughta Know” in “Jagged Little Pill”) that brings the house down.
The twenty-one musical numbers are all enjoyable enough, but some really pop with a quality and expensive detail not often present in touring company shows. The tango scene (“On a Night Like Tonight”) pairs Happy Man and Giulio in a charming pas de deux. There is even an opera, complete with Martha Graham-esque choreography and a stunning “La Traviata” aria sung by Sarah Wang. “Never Give Up on a Dream” has Happy Man and Kit sharing a scene that allows Du Plessis to tap into his inner Nathan Lane and Weir to rock the joint.
In the show’s one emotive ballad, “Freedom,” Wolfe/Edward gets to wear his heart on his sleeve as he squeezes every bit of musicality out of the song. Vivian has shown him what’s missing in his life, and he wants more. “I believe that I can change,” he sings. “I believe that I can change.”
The orchestra tickles the audience by periodically leaking snippets of the opening riffs of Roy Orbison’s classic song, “Pretty Woman.” By the time they let it rip in the finale, we’re ready to have that itch scratched.
Tickets and more information are available at https://www.emersoncolonialtheatre.com/
