Cinderella on Hollywood Boulevard

Pretty Woman: The Musical – Broadway in Chicago

 

Vivian Ward, a pretty, spunky, small-town girl from rural Georgia, is making a living as a prostitute along Los Angeles’ seedy red light district on Hollywood Boulevard. As the musical opens, Vivian’s hiding from her landlord because her roommate, Kit DeLuca, has squandered their rent money on booze and partying. Coincidentally, New York billionaire and high-power businessman Edward Lewis, who’s in town to buy up a failing shipbuilding company, has recently been dumped by his girlfriend. Through a series of chance events, Edward runs into Vivian. He hires her to drive his lawyer’s expensive car, direct him to the Beverly Wilshire Hotel and be his date for an evening’s business event. What Edward and Vivian don’t anticipate is that they fall in love with each other.

Garry Marshall had always envisioned his 1990 hit romantic comedy as a musical. He’d actually been writing the script for a theatrical version at the time of his death, just two years ago. Producer Paula Wagner promised Marshall that work would continue on his dream project, and she’s kept her word. Acclaimed singer/songwriter Bryan Adams and his longtime creative partner Jim Vallance were brought in to supplement the story with music, a book credited to Mr. Marshall and J.F. Lawton. The score, as it now plays, features 22 catchy songs, including a couple of winning, powerhouse ballads. Talented Tony Award-winner Jerry Mitchell (“On Your Feet,” “Kinky Boots”) was tapped to direct and choreograph, in a production that plays nicely to his creative strengths. It looks like Garry Marshall’s musical dream is on its way to becoming a hit for the Fall Broadway season.

In the iconic roles, created by Julia Roberts and Richard Gere, Mitchell has cast Samantha Barks, recently seen on Broadway in “Amelie” and as Eponine in both the West End and film version of “Les Miserables,” and Steve Kazee, enjoyed on Broadway in “Spamalot” and a Tony Award winner for playing Guy in “Once.” These two actors are the best reason for seeing this production.

The spirited Ms. Barks sparkles and sizzles as Vivian. She fills the theatre with her powerful voice, belting out no less than seven songs from the Bryan Adams/Jim Vallance score. Barks’ portrayal of the Hollywood Boulevard hooker, who dreams of being rescued by her own Prince Charming, is compelling. She truly creates a role that’s all her own. The actress is a perfect modern day Cinderella who brings, beauty, charisma and impassioned musicality to this role, and makes the audience forget that Julia Roberts ever played this part.

The same can be said for handsome, musically-versatile actor Steve Kazee. His Edward isn’t a priggish wheeler-dealer, as in the film; instead he’s a soft-spoken businessman who brings a lot of his own emotional baggage to the story. All of that affects everything he says and does. Whether finding pleasure in doing business with Vivian, quietly manipulating a takeover of James Morse’s shipbuilding business or unintentionally falling in love for the woman who completes him, Kazee’s Edward is a marvel. Displaying the same heart-on-his-sleeve charm that he displayed so beautifully in “Once,” Mr. Kazee offers a vulnerability and guarded warmth that would easily melt even the most hardhearted woman. These two actors provide the perfect chemistry to make this story sing.

One of the more inspired casting tricks that Jerry Mitchell has conjured up for this musical is placing talented Eric Anderson in a number of roles. He’s the Happy Man, the story’s streetwise LA street vendor, who hawks maps to the homes of the stars. This guy serves as the musical’s narrator, popping up all the time everywhere. Anderson also plays Mr. Thompson, the kind, but dignified manager of the posh Wilshire Hotel, who takes a liking to and helps mentor Vivian in becoming a more sophisticated lady. He even makes an unexpected appearance as the orchestra conductor of the opera, one of the best scenes in the play. There Allison Blackwell astounds the audience in a brief scene from “La Traviata.” With her gorgeous soprano, she sings the role of Violetta, playing opposite ensemble member Brian Cali, as Alfredo. The overall effect is stunning.

In addition to a magnificent singing/dancing ensemble, other standouts include the always sensational Orfeh, as Vivian’s roommate and friend, Kit DeLuca. Much as she did in “Legally Blonde,” Orfeh steals every scene she’s in, including a delightful number with the hip-hopping Happy Man and chorus called, “Never Give Up on a Dream.” Jason Danieley is appropriately smarmy as Philip Stuckey, Edward’s money-hungry corporate lawyer. As father and son business partners, James and David Morse, Kingsley Leggs and Robby Clater offer thoughtful, understated characterizations that prove that all businessmen aren’t ruthless jerks. And as Giulio, as well as a variety of other ensemble roles, Tommy Bracco is wonderful. He makes a lovable bellhop at the Wilshire, an athletic player on the polo field and an accomplished dancer at every business party.

Musical direction and an abbreviated pit orchestra is ably conducted Will VanDyke. Technical expertise for this Broadway-bound production comes in from David Rockwell’s simple, but evocative and site-specific scenic design. Nicely lit by Kenneth Posner and Philip S. Rosenberg, the show features some fantastic and breathtaking costumes, designed by Gregg Barnes, and accented with coiffure creations by Josh Marquette.

Jerry Mitchell looks to have yet another Broadway hit on his hands, but out-of-town tryouts, like this, are meant to shed light on areas that need some adjustments. At times the show feels a little slow and lacking dramatic tension, particularly in Act II. The finale comes a bit too abruptly. A few songs, as good as they sound, might be cut in order to make the musical more streamlined. The show could also use some bigger, glitzier production numbers to really grab the audience. But terrific songs like Vivian’s “I Can’t Go Back” and “This is My Life,” along with Edward’s “Freedom,” are already bona fide hits. The combination of a heartwarming, familiar fairy tale, a toe-tapping score and a pair of outstanding actors in the leading roles will, with just a little bit of tweaking, turn into another nostalgic film that’s evolved into a beloved theatrical favorite.

Recommended

Reviewed by Colin Douglas

 

Presented March 13-April 15 by Broadway in Chicago at the Oriental Theatre, 24 W. Randolph St., Chicago.

Tickets are available at all Broadway in Chicago box offices, the BIC Ticket Line at 800-775-2000 or online at www.BroadwayInChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.