Bright and breezy, Pretty Woman the Musical is bolstered by a terrific Australian cast, working at the height of the powers on this final leg of the Australian tour. 

As far as movie-to-musical adaptations go, 1990 film Pretty Woman is about as well known and much loved a title as can be found. Memorably played by Julia Roberts and Richard Gere, the lead characters of business magnate Edward and hooker-with-a-heart-of-gold Vivian translate perfectly into romantic musical theatre principals. 

Although ruthless millionaires may not make the most sympathetic leading men at this time, the journey of enlightenment experienced by Edward is suitably aspirational. Vivian goes on a pygmalion-like journey of her own, swiftly blossoming as she brings her personal style to a world of greater means. Key to the growth of each is their gradual acceptance of love, heretofore shut out of their lives for economic expediency. 

Screenwriter J. F. Lawton adapts his movie script with Garry Marshall, retaining the late 1980s setting and subtly tweaking the relationship dynamics to suit current taste. The initial interactions between Edward and Vivian are frank but relatively sensitive, sidestepping any sense of sleaziness by quickly introducing emotional responses and dampening the inherent power imbalance with Vivian’s self confidence and agency. When sleaze does rear its ugly head, in the form of Edward’s obsequious lawyer, his deplorable behaviour is appropriately punished. 

The original score and lyrics of Pretty Woman the Musical are by Canadian rock star Bryan Adams and his songwriting partner Jim Vallance. Fans of Adams will readily enjoy the light rock score, much as the proliferation of ballads tends to stop the show for characters to sing rather than propel story. A musical standout is act two number “You and I,” which deftly combines snippets of Violetta, Alfredo, and chorus in La Traviata with a romantic duet for Edward and Vivian. 

On keys, music director David Skelton leads a very tight off-stage band of five fellow musicians. The band and company finally bring the house down with a curtain call performance of Roy Orbison classic “Pretty Woman.”

The confident flair of masterful director / choreographer Jerry Mitchell is vividly on display, with every set, prop, and ensemble member crisply dancing their way into place. Ensemble members are more like dancing props than characters, but they bring a welcome sense of spectacle to boost the otherwise intimate love story of Edward and Vivian. 

The scenic design of David Rockwell is closely intertwined with the lighting design of Kenneth Posner and Philip S. Rosenberg for a flashy and fluid result. The overall scale of production is somewhat dwarfed by the expansive space of the mighty Regent Theatre and yet there is plenty of light and energy flowing forth from the stage. 

Costume design by Tom Rogers recreates iconic looks from the movie, also providing the ensemble with a diverse range of guises, from the free wheeling streets of LA to the night clubs, polo fields, and opera houses of the well heeled elite. 

Pop star Samantha Jade makes an auspicious musical theatre debut, bringing her own sassy sense of fun and flair to Vivian. Vocally, Jade impresses with an extraordinary powerhouse belt that totally belies her petite frame. 

Ben Hall deservedly steps up to take his place as leading man, delivering a charismatic and neatly understated performance as ruthless-to-romantic Edward. Hall’s natural vocal stylings are an ideal fit for the Bryan Adams sound. 

Jade and Hall enjoy palpable chemistry that readily carries the show along in the absence of any subplots. Sexual interaction from the pair is made clear and yet the spirit of romantic love and companionship shine through as the ultimate reward. 

Tim Omaji shines in the rather fabulous role of peppy narrator Happy Man and fastidious hotel concierge Mr Thompson.

Michelle Brasier brings vibrant energy to the role of Vivian’s BFF, and fellow happy hooker, Kit De Luca. 

Douglas Hansell does not shy from the insidious financial and sexual ruthlessness of lawyer Philip Stuckey, making his eventual comeuppance all the more satisfying. 

Special mention to gifted triple threat Jordan Tomljenovic for his sensational scene-stealing performance as frisky bellhop Giulio. 

As with each of the leading players, all members of the ensemble give their utmost to allow Pretty Woman the Musical to be enjoyed in the best possible light. 

Not trying to be a precious work of art, Pretty Woman the Musical is simply a feel good musical, ready to be enjoyed as a relaxing guilty pleasure. 

Pretty Woman the Musical plays at Regent Theatre, Melbourne until 13 September 2026. For tickets, click here. 

Photos: Daniel Boud