We were a bit afraid to find ourselves with another failed adaptation of a romantic comedy from the 90’s into a musical… But where The Bodyguard the musical and Ghost the musical were not able to convince, Pretty Woman The musical manages without difficulty to seduce us from the curtain with an exuberant Welcome to Hollywood.
It must be said that having Brian ADAMS as composer, it counts a lot.

But if the show works so well, it is also thanks to simple and well used sets. And when the number of places to live on stage is not consequent, the scenography uses several sets to symbolize the different places of the same place. We will have, for example, the leisure to visit the presidential suite of the Beverly Wilshire in the smallest recesses.

Far from a new adaptation of Alexandre Dumas’ Camille, Pretty Woman tells the romance between a prostitute and a rich businessman. We are quickly seduced by these two worlds that oppose each other and come together. In Los Angeles, the unbridled Hollywood meets the stuffy and conservative Beverly Hill. The success of this musical (which will still play the prolongations in spite of the difficulties of the Covid crisis) also holds its success of a great casting. We will enjoy the roles of Mr. Happy (Andy BARKE during our visit) or the play of the lift man Giulio played by Alex CHARLES. Each of them brings a good dose of humor to this romance. We salute here the performance of the sparkling Elly JAY irresistibly glamorous (who plays Vivian the evening of our visit, but we do not doubt that the holder of the role, Aimie ATKINSON, does not demerit either) and of Danny MAC, charismatic, reassuring and charming. We find in them the square jaw of Richard GERE, the lips of Julia ROBERTS. The eyes and the smiles seem magnified by the two protagonists. It was necessary at least that for the scenes of kisses.
Since we are talking about kisses, the show also gives place to erotic scenes that are not shocking at all thanks to an aesthetic lighting that reinforces the voluptuousness of the moment while remaining suggestive.

Let’s talk about the titles that also have an undeniable power of attraction. Female love songs need great voices. We have them! Finally, what a rich idea to integrate lyrical song to reinforce the immersion in the opera scene with You and I. At this point, you’ll fall completely under the spell with this Rock-opera. We love the singularity of Long way home which is not without reminding a certain (Everything I Do) I Do It for You. We are bewitched by the seductive Freedom. We are shaken by the explosive I can’t go back.

Beyond that, we are carried away by refreshing choreographies very boogie.

The markers of the film are there, the vulgar laugh of Vivian in front of the diamond necklace and many others. One will be surprised by the appearance of new details that seem unimportant. One will think that it does not bring much when one realizes later that they have a capital importance. Brilliant! We appreciate the tailored suits and couture dresses.

Pretty Woman will appeal to you no matter what genre you identify with and whether or not you are from the film’s generation.

The most romantic performance of a seductive everlasting love story.