Pretty Woman The Musical – Theatre Royal, Glasgow and Touring

Oliver Savile and Amber Davies in Pretty Woman The Musical at the Theatre Royal, Glasgow and Touring. Picture: Marc Brenner

Pretty Woman The Musical was reviewed at the Theatre Royal, Glasgow. The tour continues until 28 September 2024.

Star rating: four stars ★ ★ ★ ★ ✩

Straight from the opening bars, this is a show brimming with charm. Garry Marshall, writer of the adored movie, has worked magic with his co-writer, JF Lawton, in bringing this romantic comedy to the stage. The script is clear and uncluttered and may have inspired David Rockwell’s spare stage sets. The cast are the centre of attention and Jerry Mitchell’s direction and choreography succeeds in generating the energy and maintaining the pace of the story.

Our leading lady, Vivian Ward, appears during a chorus number as if by magic. Amber Davies earned a welcoming round of applause – her appearance in the blonde wig, red jacket and those famous boots captures the ‘working girl’ attitude from first glance. Her resemblance to Julia Roberts is striking. So far, so good – it then just keeps getting better. Her character is cheeky, witty, adorable and boy, can she sing! A stunning performance with not a single weakness.

Playing Edward Lewis, Oliver Savile has all the right moves and the perfect voice. He draws the character’s storyline from not really caring about anything or anyone all that much to becoming someone who takes time to enjoy life as he grows into an all-round decent human being. A thoughtful, well-rounded characterisation with more than a dash of charisma. The duets with Vivian are sublime – as is the chemistry between their characters.

Keeping the pace and flow going, Ore Oduba pulls off both Happy Man and Mr Thompson with lightning speed costume changes, matched by his changed vocal style, posture and gestures for each character. His narration of the opening scene-setting number ‘Welcome to Hollywood’ is energetic, precise and backed by the ensemble performing a modern take on the Greek chorus with great clarity in the narrative and choreography.

Mr Thompson develops quite a fun, non-verbal, relationship with Guilio (Noah Harrison), the bell-hop in the Beverly Wilshire. Guilio’s vignettes are truly funny – his appearance on stage raises a ripple through the audience as they look forward to the next hilarious nonsense. Both Oduba and Harrison are excellent dancers and movement is an important element in Vivian’s ‘training’ to fit in a world she’s never seen.

Using dance as the catalyst for Vivian to become sophisticated is one of several clever choices made to alter the film script to a working stage text. The subplots of Stuckey (Ben Darcy) and David Morse (Chomba Taulo) are beautifully played and conveyed while barely leaving the plot-line of the romance between Vivian and Edward.

A more rounded character has been written for Vivan’s friend, Kit. Her dream is a surprise and not one suitable to reveal – see for yourself! Natalie Paris has a powerhouse of a voice – her style brings to mind a young, feisty Bette Midler. The growth in character also reflects that this is a different time from Pretty Woman’s 1980s setting – the women are more powerful and self-reliant.

One scene that really stays in the mind is Vivian and Edward attending the opera and gala. Making her professional debut, special mention must be made of Lila Falce-Bass. Her voice has a soaring clarity with the emotional connection that stuns not only Vivian, but the entire audience. Just wonderful.

The original score by Bryan Adams and Jim Vallance is pleasant enough; it’s sung beautifully with clear lyrics.  However, the songs themselves are only ‘good’ and not ‘excellent’ which the quality of book, choreography, direction and performances merit.

That aside, this is an outstanding show – dripping entertainment and sheer joy. After all, who doesn’t love a fairytale?

Fiona Orr