Review by Suzanne Tate
Pretty Woman: The Musical has been a long time coming, especially for Australian audiences. The idea was first raised in 2013 by producer Paula Wagner in discussions with Garry Marshall and J.F. Lawton, the director and writer of the original film. The following year, Jerry Mitchell (Director of Kinky Boots and Legally Blonde) came on board as Director and Choreographer, and in 2015, Bryan Adams and Jim Vallance joined the team as composer and lyricist. The show was developed over several years through workshops, readings, preview performances, and further revisions, finally opening on Broadway in 2018. It played in London’s West End in 2020 and opened in Australia in Brisbane in October 2025. Finally, it is Melbourne’s turn, as Pretty Woman: The Musical comes to the Regent Theatre in Melbourne’s East End.
Pretty Woman, the film, was released in 1990 to huge success and has become a modern classic. It is a very difficult task to do justice to such a loved film in this way, adapting it to the stage almost 30 years later. Pretty Woman: The Musical, however, aims to capture the essence of the original, retaining many iconic moments, while modernising the aesthetic and tweaking the storyline to suit contemporary sensibilities.
The title role of Vivian Ward, played by Samantha Jade, is more proactive than in the film, taking greater agency to protect herself and change her circumstances. Jade must walk a fine line in playing such a well-known character previously associated with a specific actor, without mimicking Julia Roberts’ performance. Some of the iconic lines were delivered in a way that echoed the film, but Jade did put her own stamp on most of her dialogue. Not every song suited Jade’s vocal style to my mind, with ‘Luckiest Girl in the World’ sounding harsh, even nasal at times, but the remainder of Jade’s numbers, such as ‘Anywhere but here’, ‘This is My Life’ and ‘I Can’t Go Back’ were extremely strong and well suited. The character of Vivan’s roommate, Kit De Luca, played by Michelle Brasier, has a larger role than in the film and shows greater personal growth. Not only is the character more prominent in the show compared to the film, but Brasier’s powerful vocals come close to stealing the show.
Another notable difference to the plot, and a key strength in the performance stakes, is Tim Omaji in the combined role of Happy Man/Mr Thompson. He also popped up in a couple of other roles, much to the audience’s amusement. Omaji’s performance overall was a highlight of the show. While I personally found Hector Elizondo’s portrayal of Mr Thompson in the film impossible to beat, the additional humour in the role in the stage version, such as the dancing scenes, and the delightful contrast between the various characters elevated the role, and Omaji embraced every facet of it beautifully. The role of Edward Lewis, played by Ben Hall, also makes more of a personal journey of growth in the stage show and Hall’s vocal performance, in particular, was excellent. Hall intentionally begins with a restrained, tightly controlled performance, but that is the nature of the character, so we see development as he finds more personal freedom and a new goal. The role of lawyer Philip Stuckey, played by Douglas Hansell, is more three-dimensional than we see in the film. He still behaves in ways that make him deeply unlikeable, but he is more believable and well-rounded as a character.
The costumes designed by Gregg Barnes also demonstrate the fine line being walked by the production. Notable costumes such as Vivian’s initial outfit – a blue mini skirt with a cropped white top, an oversized red blazer, thigh-high black boots and a blonde bobbed wig, and the iconic red opera gown are there. But the outfits she chooses, such as the dress she wears to the polo, or the pantsuit she wears on the final day, are completely different. The costumes in general have been designed to suit a current fashion aesthetic, such as slim-lined tailored suits for the men, and even the iconic red dress has been adjusted – softened to a more romantic silhouette with floaty chiffon.
The sets designed by David Rockwell are light and airy, with slim, laser-cut designs representing the façade of the Beverly Wiltshire Hotel and the ubiquitous palm trees in every scene, and individual furniture pieces that can be inconspicuously rolled in and out for various scenes in the hotel interiors. There are more substantial sets representing signage and neon lights that populate Hollywood Boulevard and the Blue Banana Club, however.
The music written by Adams and Vallance supports the narrative effectively, with the lyrics often including dialogue from the original film script adapted to suit the music. The character that gets the most interest and variety in her musical numbers is Vivian, charting her emotional journey. In Act 1, it felt a little strange when Edward burst into song, when he was such a repressed character at that time. His songs showed the emotional conflict he felt as soon as he met Vivian, which is not yet evident in his behaviour. While the songs were all enjoyable, none of the music stuck in my memory. Perhaps it’s a score that reveals itself over repeated listens—an argument, perhaps, for buying the soundtrack.
For fans of the film, this musical does not conflict with our memories. The changes enhance, rather than detract from the original story. Most of our favourite scenes were there (although I did miss the ‘Whoop! Whoop! Whoop! at the polo, and the flying snail shell). It was equally amusing to hear the audience’s reactions, as many seemed unfamiliar with the story, gasping in shock at various moments and sounding deeply uncomfortable with the more … intimate… scenes. I actually heard a muttered ‘thank goodness’ when the curtain closed on one bedroom scene. In Pretty Woman: The Musical, the songs do more than provide entertaining interludes. They also provide depth and detail in a way that pure dialogue cannot, and this is used very effectively in this show. Pretty Woman: The Musical was a charming stroll down memory lane, while successfully bringing the story into the twenty-first century.
Pretty Woman the Musical is now playing at the Regent Theatre in Melbourne’s East End Theatre District
For more information and tickets: https://prettywomanthemusical.com.au/
Photo credit: Daniel Boud
