Samantha Barks is every bit the Pretty Woman of any guy’s dreams. No wonder the buttoned-down, super rich Edward Lewis (Andy Karl) falls for her. She could be Keri Russell’s kid sister; beautiful, of course, but also wildly talented and with plenty of soul. Comparisons with the movie original Vivian, Julia Roberts, are inevitable. But while much of the dialogue remains the same, here Vivian is softer, more the eternal optimist who still believes her Prince Charming is out there. The main problem with the play, as with the film, is that having the heroine turning tricks on the street is just plain seamy and unappealing. The fix is obvious; why not have her be working for a high-class escort service, which were as plentiful in the Hollywood of the 1980’s as they are now? Even in a blonde Dutch boy wig, wearing hip boots and a tiny outfit, this Vivian is nowhere near as down and dirty as the soiled dove who tells Edward she does “everything but kiss on the lips.” Her roommate, Kit, is irresponsible and loses the rent money which causes Vivian to be caught sneaking down the fire escape as the show begins. As played by the scene-stealing Orfeh, Kit is bold, brassy, and like a caring big sister to Vivian. She has a secret desire to be a cop, and she’d be great at it. We never really get much of her backstory, but when she belts out her songs, everyone in the theater is swept up in her power and the sheer joy she exudes in performing. She’s Andy Karl’s real-life wife, so he is a man who is doubly blessed to be around two such dynamic women, on stage and at home. He’s also got a great voice, and he lets us see the yearning Edward feels for a more authentic life which is filled with tenderness and love. Eric Anderson is a larger-than-life chameleon who changes on stage from a street hustler to the manager of the posh Beverly Wilshire hotel. He even appears briefly as the orchestra conductor. His Mr. Thompson has the regal baring and gravitas which is expected of someone who’s in charge of seeing that guests, particularly the high roller like Mr. Lewis, are pampered and made to feel they’ve found a second home. It is he who sets in motion the joyous scene of Vivian being able to shop to her heart’s content after being snubbed by saleswomen in a pricey Beverly Hills store. Needles to say, what those snobs did to our heroine was a big mistake, huge. Some moments don’t work particularly well. Snapping the jewelry box in Vivian’s face causes only a giggle from her, not a delighted whoop of laughter. The sparse set design, which is meant to point up the fairytale aspects of the show, would be much more effective if the penthouse hotel room were really done up. The same is true of the opera house, and Rodeo Drive. We need to see that the little prostitute has really entered a different world. The music isn’t outstanding. But there are so many wonderful performers in minor roles, we’re presented with small gems throughout the course of the musical. The utterly delightful Tommy Bracco comes to mind as Giulio, Mr. Thompson’s right-hand man who relishes his job, especially when it calls for getting an eyeful of the gorgeous Vivian. Pretty Woman is a smash hit, and for good reason. It’s a musical that entertains, gives us a chance to evaluate our own values, and most importantly, is just plain fun.
