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Amber Davies as Vivian Ward and Oliver Savile as
Edward Lewis. Pictures: Marc Brenner Pretty Woman: The Musical The Alexandra Theatre, Birmingham **** You can never be too old for fairytales, you just have to believe, so, welcome to Hollywood and a sparkling musical rom-com with laughs aplenty, some great songs and a tale full of emotion and heart . . . by the hour, cash only and up front . . . Based on the 1990 hit film it tells the heartwarming tale of a tart with a heart and a wealthy businessman who finds there is more to life than money - a real fairy tale which draws you in, so just sit back and enjoy. We open with a welcome from the brilliant Ore Oduba as Happy Man along with a hard working ensemble filling the stage with the opening number in the seedier end of Hollywood Boulevard where you can find love . . . at a price . . . and come across flat mates Vivian and Kit De Luca, members of the world’s oldest profession, needing $300 rent fast to avoid eviction. Enter a billionaire who has just broken up with his girlfriend and is a seasoned asset stripper, highly eligible bachelor Edward Lewis, who is lost and has stumbled, purely by accident into the red light district – an excuse one suspects many a wife has heard, but that is another story. Edward really was by accident. He needs to get to his hotel and his penthouse suite at the upmarket Beverly Wilshire (somewhere north of £14,000 a night if you need a place to stay in LA . . . but, to be fair, that does include breakfast) so he asks working girl Vivian for directions – directions, being cheaper than full sex, only costs him $20. Flash the cash and she offers to drive him there . . . in his own car or course, a Lotus he borrowed from his lawyer. And off we go. It starts as an hour, then a night and, after negotiating a bulk rate, our lady of the night has expanded her working hours to a full week, from whore to eternity as you might say, working as a pretend girlfriend as Edward sets out to buy and sell off an ailing shipyard.
Natalie Paris as Kit De Luca and Noah
Harrison as Giulio They arrive at the hotel to be greeted by the manager Mr Thompson, who looks remarkably like Ore Oduba again. He also pops up as a haute couture shop manager, a nightclub singer and even as an orchestra conductor – and no doubt he was also selling ice creams somewhere in the interval . . . and he was magical at them all, full of fun, dapper and a delightful, invaluable theatre stalwart, a classy song and dance man. Amber Davies is a wonderful Vivian, funny, independent, with lovely quips and impeccable timing along with some excruciating attempts to fit in to a society where wealth is the main entry requirement. We really feel for her when she is hurt, put down or insulted, or when her dreams are threatened. Oliver Savile brings a sort of remoteness to Edward, his wealth based not on creating or building anything, merely on destroying things, buying ailing companies and dismantling them for profit. Vivian is a business proposition, no more, he needs a woman on his arm for effect and in his money driven world if he pays you, you are his and do as you are told. Except we can see a few chinks in the uncaring wall he hides behind and then there is the problem of love . . . and no one tells love what to do. He sports a fine voice and puts some real feeling into his solos but the real showstopper came in Vivian’s I can’t Go Back which she fills with raw emotion. What a voice. Every word crystal clear as all her fears and vulnerability are laid bare. It reminds you there is a dark undercurrent to what is on the face of it a light, frothy musical.
Ore Oduba as Happy Man Vivian is a hooker, a prostitute, street walker, a whole host of words to describe the subject of Cole Porter’s stark anthem Love for Sale. It was not an ambition or a career choice and Edward, or perhaps just a relationship, even one for money, lasting beyond a paid for hour sparks a dream of escape, a chance of normality. Perhaps that’s why we take her to heart so much, willing her to find a happier life. Natalie Paris’s Kit De Luca is an old hand at life on the game, becoming Vivian’s friend and protector. It’s a job, don’t get involved, never kiss on the lips – that makes it personal – and demand cash up front. All very mechanical, providing a sort of fast sex takeaway, we never really get to know her but even so we are pleased when she gets her chance to escape. Then there is Ben Darcy as Philip Stuckey, Edward’s money driven lawyer, who sees Vivian as just another hooker open for business, rough trade in his case . .. big mistake by the now ex-lawyer. Perhaps Edward has feelings after all. Chomba Taulo is David Morse, the failing shipyard owner fighting a buy out and destruction by asset stripper Edward, with his rescue plan, a plan that will save his family business and hundreds of jobs, and a plan supported by Vivian much to Edward’s annoyance, while Noah Harrison makes an amusing cameo appearance as hotel bellhop Giulio. His dance with Mr Thompson, a little gem. There is a telling moment when Edward takes Vivian to the opera, Verdi’s La Traviata, which translates from the Italian as The Fallen Woman, with Josh Damer-Jennings singing the part of Alfredo and Lila Falce-Bass making her professional debut as Violetta in the well-known duet Libiamo ne' lieti calici. In the opera Alfredo, son of a wealthy family, falls for courtesan Violetta, the inspiration, incidentally, for the film. Luckily for her, Vivian avoids the opera standby of heroines dying of consumption in a Paris garret.
The course of true love never did run smooth and when the week’s hire is up Edward makes the mistake of lavishing gifts on Vivian. She has served her purpose as his escort for the week, and the car, condominium and charge accounts at Hollywood stores he provides are his bonus payment - arms length affection. It’s not what she wanted, so she tells him to keep it and walks away out of his life . . . and that makes him come to terms with the fact it’s not what he wants either, so spoiler alert, he follows his own dream so cue happy ending. Garry Marshall, director of the film, who died two years before the Premiere of the musical, worked on the book with the original screenwriter, J F Lawton, keeping to the original story within the confines of the stage and took the brave decision to include all new songs from Bryan Adams and songwriting partner Jim Vallance, who produce songs which take the story along rather than merely providing musical interludes. The songs are all enhanced by an excellent six piece band under musical director Griff Johnson. David Rockwell’s set is simple and effective, changing without any pause in action while Tom Rogers’ costumes are raunchy or classy depending upon the situation. Choreography from Director Jerry Mitchell is lively and interesting rather than routine and he keeps up a cracking pace with highs and lows of emotions carrying you along. As for that Roy Orbison anthem . . . Oh, Pretty Woman was originally omitted from the musical but became the curtain call singalong a year later. Pretty woman will provide you with more than enough feelgood to see you through the rest of the year and beyond and she will be walking down the street to 24-08-24. Roger Clarke 20-08-24 |
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