I’m just getting home from the first preview and I have to say my overall feelings are positive. I do think this has the ability to run and be a hit; although there’s nothing ambitious or innovative about Pretty Woman, it’s far better than either Head Over Heels or Gettin’ the Band Back Together.
Let’s do the good news first. I didn’t like Samantha Barks. I LOVED Samantha Barks. The woman has all the charisma, uniqueness, nerve and talent one needs to be Broadway’s fab superstar. Plus, she’s an absolute knockout in all the costumes. She’s forced to say all of Julia Roberts’ lines, but she gives anything but an imitation performance. The advertising is all about replicating the movie, and in many ways (the book especially), it is a reproduction, but Barks elevates the whole the evening and deserves the lion’s share of the credit for the show’s success.
One of the major complaints I heard from Chicago was about Kazee’s performance and his lack of chemistry with Barks. Well, Andy Karl does not have the same chemistry issue and the love scenes were steamy. I still believe Karl deserved the Tony for Groundhog Day and I’m always happy to see him back in leading man status where he belongs. He is really channeling Bryan Adams with his vocals here. Despite his material being lackluster, he comes off well.
Eric Anderson is a scene stealer in multiple roles; Orfeh is, well Orfeh, but she’s a lot of fun and she should seriously consider keeping her wig as her regular hairstyle, because it was awesome. Jason Danieley has nothing to do, but he has the crappy villain role and no one wants to spend time with that character anyway.
Lots of money was spent on this show. The sets, costumes, lighting- all wows. People won’t feel ripped off with cheap projections and ratty wigs.
So, if the cast and technical aspects are great, the rest falls short. Mitchell has never been the most inspired director, but he knows how to keep things zipping right along. All the dance moves you image will be included are there and the whole thing ends on a somewhat bizarre production number reminiscent of the Kinky Boots finale. If ever a show needed a sweet ending with just the two of them a la Hello, Dolly, this is it- but that’s not how things go in a Mitchell production! Viv’s hooker pals throw confetti and dance around because that’s what gets people on their feet and clapping along in the aisles.
The book is the screenplay. It’s the same lines we’ve heard a million times and seen parodied in pop culture a million times after that. Yawn
The score is the weakest link though. It’s not terrible by any stretch. I would describe it as competent. The melodies are often tuneful, but the lyrics aren’t anything to write home about. It’s all generic to the max. Barks’ first number, “Anywhere But Here,” could be from any musical with a female lead. Even the song titles are generic: Anywhere But Here, On a Night Like Tonight, Don’t Forget to Dance, This is My Life, You and I, I Can’t Go Back, Long Way Home. Trust me, if it weren’t for the cast working their asses off and being so damn wonderful I could have easily turned on this show. It’s disappointing when the worst part of a new musical is the music, but I was on such a Barks high that I didn’t care.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
