‘Pretty Woman’ at Marcus Center: Splashy—If Superficial—Fun

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Photo: Marcus Performing Arts Center - marcuscenter.org

Pretty Woman: The Musical

Pretty Woman: The Musical

The 1990 film Pretty Woman, starring Julia Roberts and Richard Gere, is one of the most beloved romantic Hollywood stories of all time. It’s also among the most implausible: a hard-hearted businessman (Edward) employs and then falls in love with a gutsy, scrappy and street-smart prostitute (Vivian). Oh, yes, she’s also among the most gorgeous women one can imagine, with a perfect body and no shortage of long, wavy red hair. And she looks incredible in a form-fitting red gown. All she needs is a blingy diamond necklace (which Edward supplies).

If you loved the film, chances are you’ll love Pretty Woman: The Musical. The national tour opened Tuesday at the Marcus Performing Arts Center. The large hall is an impressive home for this splashy, big-scale musical, which features a large Equity cast, numerous backdrops and plenty of room for this musical to unfold. The scenes primarily are set in Los Angeles’ grimy streets, the Beverly Wilshire Hotel and the grungy walk-up apartment that Vivian shares with her BFF, another prostitute named Kit.

It's hard not to be swept away by the musical’s plot, which basically matches that of the film version. The show had a decent run on Broadway prior to launching its national tour, and a number of Broadway cast members appear here.

Of course, the show’s star is Vivian, played here with effervescent charm by Olivia Valli. She displays all the right moves, as well as the voice, that makes Vivian irresistible. In the musical, it takes a bit longer for Vivian to dispatch her streetwise manner in favor of more socially acceptable behavior. Rather than being displeased by Vivian’s bluntness and occasional outbursts, Edward is more and more attracted to this elusive creature.

Adam Pascal Impresses as Edward

The unexpected surprise here is that buttoned up-businessman Edward is portrayed by Broadway royalty Adam Pascal. Pascal is best-known for having originated the role of Roger in the 1996 Broadway opening of Rent. The Tony-nominated actor also appeared in Rent’s 2005 film version. He originated the role of Radames in Broadway’s Aida, and further credits include the recent Broadway revival of Cabaret, plus Memphis, Chess and Hair. One of Pascal’s most recent appearances was as William Shakespeare in Broadway’s Something Rotten!

In Pretty Woman, Pascal is more than up to the challenge. Looking incredibly fit in his tailored wardrobe, he powers through his solo numbers (notably “Freedom”) and puts some punch in an otherwise bland role. He’s also credible in his character’s relatively quick change-of-heart; not just about Vivian, but about the future of his career.

That relative newcomer Valli can hold her own against Pascal’s talents is impressive (of course, it may not hurt that her grandfather was famous singer Frankie Valli, of The Four Seasons).

Yet another of the show’s surprises is the omnipresent appearance of a third character, known as the Happy Man. He’s Kyle Taylor Parker, a graduate of the Milwaukee High School of the Arts. Parker appears as several colorful characters and pops up almost everywhere – on the street (as one of Vivian’s and Kit’s friends), as the hotel manager (who doubles as a dance instructor), as a store manager on Rodeo Drive, and even (temporarily) in the orchestra pit as the conductor. Perhaps in explanation, he refers to himself as a “Black fairy godfather” who oversees the whole enterprise. Parker is exceptional from start to finish, displaying a polished performance in each of his myriad roles.  

Jessica Crouch (also from the Broadway cast) excels as Kit, Vivian’s brassy-with-a-heart-of-gold best friend. Even she is influenced by Vivian’s unexpected good fortune and decides to “better herself” by enrolling in police training.

A Complete Fairytale Package

The show’s other elements combine smoothly. The book is written by veteran film director Garry Marshall and JF Lawton. Jerry Mitchell (Kinky Boots, Legally Blonde) is impressive as the show’s director. But his sub-par choreography (except for the tango sequences) doesn’t make the grade. Some of the dialogue is equally weak, such as one of Vivian’s early lines, “the sidewalk doesn’t suit my soul.”

Tunes by Grammy winner Bryan Adams and Jim Vallance are adequate. The show’s leads make the most of what they have to work with, and their voices are uniformly excellent.

David Rockwell’s scenic design works well for a touring show, allowing for various backdrops and other elements to be quickly whisked on and off as necessary. Gregg Barnes’ costumes—especially Vivian’s statement red gown and the trendy outfits worn by ensemble members on Rodeo Drive—are divine. The show is beautifully lit by Kenneth Posner and Philip S. Rosenberg.

Pretty Woman: The Musical continues through March 6 at the Marcus Performing Arts Center, 929 N. Water St. Patrons must show proof of COVID-19 vaccination or a recent, negative Covid-19 test, and a photo ID. Masks are required indoors. For tickets, click on marcuscenter.org. or call 414-273-7121.