Pretty Woman: The Musical at the Peace Center
“I didn’t realize how many times I’ve seen the movie,” said a fellow theatergoer after the Feb. 8 opening night performance of Pretty Woman: The Musical at the Peace Center. “I knew exactly what was going to happen.”
Though those words could sound like a dig at the show’s predictability, based on the bubbliness of her voice and the smile overtaking her face, she was doubtlessly being complimentary. For her and many others, the stage show’s faithfulness to the beloved 1990 rom-com is certainly a draw, but it’s the numerous intelligent Broadway embellishments that make the production more than merely a rehashing of a familiar story.
All the core plot points are present as kindly prostitute Vivian Ward (Olivia Valli) picks up wealthy businessman Edward Lewis (Adam Pascal, the original Roger Davis in Rent) while he’s in LA for work and the two embark upon a revelatory week together. The pair exhibit their own distinctly charming chemistry, just reminiscent enough of the source material’s central couple — though Julia Roberts and Richard Gere didn’t have the advantage of belting out their thoughts and feelings in song.
The tunes by Bryan Adams (yes, that Bryan Adams) and his songwriting partner Jim Vallance skillfully blend modern Broadway sensibilities with the ’80s/‘90s power ballads for which the duo is known. It’s a smart starting point for the songwriting team’s stage musical career with Adams’ influence especially notable on Edward’s solo numbers, “Something About Her” and “Freedom,” and rocking guitar licks popping up with welcome frequency.
These sonic qualities — and some appealing “Before He Cheats” vibes — come together in second act showstopper “Never Give Up on a Dream,” one of several songs that give Jessica Crouch a chance to show off her impressive pipes as Vivian’s energetic roommate (and colleague) Kit De Luca.
Stealing the show, however, is Kyle Taylor Parker (the original Lola in Kinky Boots). Credited as “Happy Man,” Parker pops up in multiple capacities like a fairy godfather, first as a benevolent hawker of Maps to the Stars, then as Beverly Wilshire concierge Mr. Thompson, and later in small, funny roles — including one surprise appearance that received well-earned applause and cheers.
Mr. Thompson’s scenes at the hotel are augmented by comic relief bellhop Giulio, played by superb dancer and physical comedian Matthew Vincent Taylor, part of a small but engaging supporting cast that includes a sufficiently smarmy Matthew Stocke as Edward’s lawyer, Philip Stuckey.
Additional new characters cycle into the narrative with ease — with the exception of shipbuilder David Morse (Alex Gibbs), who practically needs subtitles to decipher his poorly mic’d and/or enunciated lines, which sadly go unregistered. Fortunately, Gibbs rebounds in subsequent appearances amidst David Rockwell’s fairly basic but convincing scenic design that takes us from the “looking for a good time” recruitment bench on Hollywood Blvd. to the lobby and penthouse of the Beverly Wilshire and the various shops, restaurants, and hot spots that Vivian and Edward visit.
Perhaps chief among them is the opera scene, during which the classical vocal talents of Amma Osei and Christian Douglas get to shine, and director Jerry Mitchell’s choreography receives its brightest spotlight, further amplifying Gregg Barnes’ costumes and Josh Marquette’s hairstyles as Vivian completes her Cinderella transformation.
And as for Roy Orbison’s titular tune, it receives a humorous handling with Parker’s delightful master of ceremonies decreeing when it can (and can’t) be played. These dashes of fourth-wall-breaking humor add to Pretty Woman’s already winning formula and make it a must-see for fans of the movie and those of high-quality musicals alike.
Pretty Woman: The Musical runs through Feb. 13 at the Peace Center. For details and tickets, visit peacecenter.org.
(Photos courtesy of the Peace Center)
