‘Pretty Woman: The Musical’ is a good times and low expectations sort of show that does the minimum expected of it, and no more... cynical, soulless, nostalgia cash-in.
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The score by Bryan Adams and Jim Vallance often veers into the bland...the nascent love story between Giulio and Mr Thompson feels, for a time, like there’s another, more daring musical fighting to get out of this one.
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Yet this is essentially the same Pretty Woman, with cut-and-pasted dialogue and carbon-copy clothing to match the original, only with added song and dance to offset the lack of close-ups.
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Pretty Woman won't be the last cynical miscalculation to hit the West End, but if it brings [Bob Harms] to a broader public, well, no harm done there.
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If Bryan Adams and Jim Vallance's score lacks serious break-out hits of its own, there's at least a curtain call reprise of Roy Orbison's famous 1964 hit single that gave the original film its title to send you out on a high.
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Produced in 2020, created predominantly by men but marketed at women, this is nostalgia-by-numbers padded out with ballads, as cynical as it is icky.
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Three decades on from the 1990 film starring Julia Roberts, our understanding of the world of sex work has changed immeasurably. You wouldn’t know that from watching this.
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Yes, it’s a musical about prostitution, but this adaptation of the 1990 Julia Roberts/Richard Gere rom-com is a triumph of exuberant zest over dodgy subject matter. It matches the charm of the film but has a subversive energy all its own.
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