See it if You are fans of Andy Karl and Orfeh. You like great singing and choreography, even if you don’t like the story.
Don't see it if You are not a fan of musicals or Pygmalion type stories. Read more
See it if you enjoy a Broadway musical with good performances and great music. It is an audience favorite and you will have a great time.
Don't see it if you didn't enjoy the film or think that nothing could compare to it. If you don't like good songs and great performances with lots of laughs
See it if This is one of the better shows this season. Very captivating, and doesn't let up for a moment.
Don't see it if If you hate the premise or disliked the movie there still may be a chance for you
See it if Very entertaining. See it before closing. Singing is the best. Loved the music, songs, dancers, so much fun. Loved it.
Don't see it if If you do not like musicals, touching story, did not like the movie. Don't want to be entetained. Your a sour puss.
See it if You want to see fabulous singing by all of the actors and still believe in love!
Don't see it if You want to miss a great show.
See it if You enjoyed the movie
Don't see it if If you don't like the storyline
See it if You enjoyed the original story and love the story without a major misunderstanding confusion.
Don't see it if You have any issue with the original movie. Read more
See it if You want a wonderfully acted and terrifically fun show!
Don't see it if You're looking for a memorable score.
"Burdened by a lackluster score by Adams, whose style is more suited to country/pop than the stage, 'Pretty Woman' is what you get when bad music happens to good singers...And yet, even with its flimsy story and inconsistent score, this show has something any creative team would kill for — the dazzling Samantha Barks...Despite its flaws, 'Pretty Woman' does have appeal, in the quirky individuality of its chorus members, and the truly stellar performance of Samantha Barks."
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"The musical rarely achieves that same special place that the 1990 film occupies in romantic comedy heaven. It has all the good lines, well, most of them, and almost every iconic set-up, but the end result feels as flat and bland as a Chevrolet Malibu, mainly because the book and actions play strict allegiance to the film, and rarely give it any chance to rev-up its cylinders in its own unique way...But the musical looks shiny and solid...It sounds just as good as it looks as well."
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“You’re better off sticking with your worn out VHS copy of the film than delving into this new musical...The overly familiar mixed with the utterly uncreative comes together to make this a musical that does more harm than good...The musical’s tone is all over the place...The score offers no solution...It fails to create any heat, meaning, or emotional connection...The songs explode loudly but never burn with feeling...The lyrics do not provide insight into the characters."
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"Despite the star-making potential of her part, many actresses would have shied away from the daunting task of stepping into Julia Roberts' shoes. However, Barks' determination to make the role her own shines through at every moment. Luckily, she also has a toothy, glowing smile almost as big as Roberts', an absolutely amazing singing voice, an obvious affection for the character, and the ability to look stunning in Gregg Barnes' mostly gorgeous costumes."
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"The script…has been deflated by its morphing into a musical…Songs that barely move the action forward or explore characters and themes…Takes the air out of whatever little dramatic action there is. Comedy lines and business are cluttered with clichés…Jerry Mitchell's direction and choreography substitute obviousness for nuance…Its attractive, talented stars…are unable to capture Gere and Roberts's lightning in a bottle, thereby accenting the artificiality of the conceit."
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"The score is energetic pop, sometimes catchy, more often generic-sounding, like outtakes from a Bryan Adams album...Jerry Mitchell has put together an entertainment with his usual professional polish, though one could almost characterize the song-and-dance numbers in 'Pretty Woman' as restrained and peripheral...The work the cast does...is fine, sometimes more than fine, but it cannot completely compensate for characters that feel airbrushed for commercial consumption."
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"The score by Bryan Adams and his longtime collaborator Jim Vallance is fine, if nondescript, 1980s-style pop-rock...Andy Karl and Samantha Barks have a loose, relaxed chemistry. You are rooting for them to end up together because, well, that’s the whole point. And yet the show never quite clicks. Partly it’s because we could use more sass and wit...But a lot of the issues have to do with the big question hovering above the entire project: Is this the story we need right now?"
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"Tuneful, schlocky, and deeply offensive unless you have a take-it-or-leave-it approach to female agency...The score...is perfectly pleasant, but except for a couple of riffs so macho-sounding they suggest a penis as plectrum, it is also perfectly unremarkable...The dance numbers seem borrowed from bar mitzvah B-roll and the shopping scene, which should be a triumph, is just no fun...There’s far more engineering and care devoted to the lingerie than to the story structure."
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