Few romantic comedies are as embedded in popular culture as Pretty Woman. Adapting such a beloved film for the musical stage is a delicate balancing act – honouring the original while finding fresh ways to tell the story. This production succeeds most convincingly through its performances, production design and clear affection for the source material.

More than a decade in development and featuring an original score by Bryan Adams and longtime collaborator Jim Vallance, this stage adaptation is at its strongest when it trusts the charm, humour and emotional pull of the story audiences know and love.

Vivian Ward (Samantha Jade), a Hollywood Boulevard sex worker, meets millionaire corporate raider Edward Lewis (Ben Hall) and agrees to accompany him for a week. What begins as a business arrangement blossoms into romance, with each character ultimately rescuing the other. Vivian gains confidence and opportunity while Edward is coaxed out of a life defined by money and emotional distance.

The audience enters Her Majesty’s Theatre to a striking scene: David Rockwell’s set gazing out over the lights of Los Angeles from behind the Hollywood sign. It’s a fittingly cinematic opening for a production that is at heart an homage to the film. Garry Marshall and J.F. Lawton’s book follows the original screenplay closely, preserving many of its best-known scenes and much of its sharp dialogue.

You might like

Music

‘A love letter to becoming’: West End star Baylie Carson’s Cabaret Festival homecoming

Theatre

Theatre review: Till the Stars Come Down

For fans of the film, there is great pleasure in seeing these familiar moments recreated on stage. Vivian’s encounter with the dismissive Rodeo Drive sales assistants remains deeply satisfying and the friendship she develops with the staff of the Beverly Wiltshire Hotel retains the warmth and humour of the film. The production moves briskly between locations thanks to Rockwell’s elegant set design and a series of seamless scene changes maintains the momentum throughout the performance.

The central challenge lies in the score. Adams reportedly pursued the project for years, and his musical fingerprints are everywhere. Many of the songs are built around soaring power-ballad structures that will feel familiar to those who grew up with his music. Ben Hall and Samantha Jade deliver these numbers with strong, expressive voices, Hall in particular during ‘Freedom’, which emerges as the show’s most unmistakably Bryan Adams moment.

Yet the songs rarely deepen the material in meaningful ways. Instead of revealing new facets of the characters, they often restate emotions already conveyed through dialogue. The result is a curious reversal of musical theatre convention – the dramatic scenes often carrying more emotional nuance than the songs.

Fortunately, the cast proves more than capable of carrying the production. Samantha Jade and Ben Hall face the challenge of inheriting roles that are inseparable from Julia Roberts and Richard Gere in the public imagination. Yet rather than attempting imitation, they both find their own approach. Jade captures Vivian’s vulnerability and resilience while Hall brings warmth and sincerity to Edward’s transformation.

Among the ensemble cast, Michelle Brasier is a standout as Vivian’s friend Kit. Her commanding vocals inject huge energy into every appearance, particularly during the exuberant ‘Rodeo Drive’. Jordan Tomljenovic is equally memorable as the bell-hop Giulio, bringing physical comedy, charisma and impeccable timing to the role. Alongside other members of this vibrant ensemble, they provide many of the most entertaining moments.

Tom Roger’s costumes lovingly recreate many of the film’s iconic looks, while the ensemble’s vocal blend and energetic choreography help sustain the show’s atmosphere. Even a somewhat awkwardly integrated La Traviata and ballad sequence is elevated by the quality of the vocal performances and staging.

For audiences who love the original Pretty Woman, this adaptation offers a glossy and affectionate return to a favourite story. While the score never quite justifies the leap from screen to stage, this production’s strong cast and polished presentation ensure an enjoyable night out at the theatre.

Pretty Woman: The Musical continues at Her Majesty’s Theatre until July 5