Susan Granger’s review of “Pretty Woman” (Nederlander Theater)
“Hopes and dreams are what this town is made of./Give it a shot. You’ve got nothing to be afraid of,” sings the street-hustling Happy Man (Eric Anderson) as this somewhat tawdry, Hollywood fairy-tale begins.
Set to a saccharine, soft rock score by Canadian pop star Bryan Adams and longtime songwriting partner Jim Vallance, it’s almost directly cloned from Garry Marshall’s 1990 romantic comedy that catapulted then-unknown Julia Roberts to fame and fortune.
But that’s not radiant Julia Roberts on-stage. It’s enchanting Samantha Barks with a strong pop soprano voice, deliberately evoking nostalgia with every Julia-nuanced, verbatim line of dialogue and replicated costume. Her initial “Anywhere But Here” is the heroine’s “I Want” number, propelling the plot.
In the hands of director/choreographer Jerry Mitchell (“Kinky Boots,” “Legally Blonde”), the candy-coated concept by Marshall, who died in 2016, and screenwriter J.F. Lawton remains the same: On the seedy side of Hollywood Boulevard, prostitute Vivian Ward picks up cold-hearted, Wall Street billionaire Edward Lewis, who’s ensconced in the luxurious Beverly Wilshire Hotel penthouse for a week of wheeling and dealing.
Charmed by her vulgar, yet refreshing candor, he negotiates her companionship for a week at $3,000. (Incidentally, “$3,000” was the original title of the film.)
Unfortunately, Andy Karl is no Richard Gere. His Edward Lewis is remarkably vapid, totally lacking in charisma, so there’s no sexual chemistry between Edward and Vivian.
In a dual role as the Happy Man/Beverly Wilshire Hotel manager Mr. Thompson, Eric Anderson steals the show, reminiscent of the film’s kindhearted Hector Elizondo, who helps make Vivian’s Cinderella dreams come true. He’s aided and abetted by Orfeh as Kit, Vivian’s streetwalking BFF, and Allison Blackwell singing Violetta in “La Traviata.”
Scenic designer David Rockwell uses silhouetted palm trees to establish the locale; the rest is rather minimalist, even skimpy, for such a seemingly expensive production. And the memorable hooker-to-haute-couture shopping scene on Rodeo Drive is decidedly underwhelming, totally lacking inspiration without Roy Orbison’s catchy “Pretty Woman” tune.
Bottom Line: This production is slick and tourist-friendly – with a huge advance. Meaning it will play at Broadway’s Nederlander Theater for the foreseeable future.