Australia’s commercial theatre industry hasn’t had much to celebrate lately. In the last twelve months, a string of high-profile productions, including Dear Evan Hansen, Back to the Future: The Musical, Beetlejuice: The Musical, and Waitress: The Musical, have seen tours scrapped and seasons curtailed as mounting production costs, softer ticket sales, and ongoing economic pressures continue to challenge the sector. It’s a sobering trend for an industry that remains a significant contributor to Australia’s economy and cultural landscape.
In the immortal words of Vivian Ward, failing to find lasting solutions for Australia’s commercial theatre industry would be a “Big mistake. Big. Huge.”
Against those odds, Pretty Woman: The Musical is one of the fortunate few.
After premiering in Brisbane last October, the production has successfully circled the country before arriving at Melbourne’s Regent Theatre for its final Australian stop. In today’s climate, simply completing a national tour is reason enough to celebrate, but in the case of Pretty Woman: The Musical, there’s plenty more to applaud. The Melbourne season opened in style, with the original limousine from the film parked outside the theatre, adding a touch of Hollywood glamour to the occasion.
Based on the 1990 film of the same name, Pretty Woman: The Musical reunites the film's original creative team, with a book by legendary director Garry Marshall and screenwriter J.F. Lawton, while two-time Tony Award winner Jerry Mitchell directs and choreographs.
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Following its world premiere in Chicago in March 2018, the musical transferred to Broadway later that year for a relatively short stint before finding greater success internationally.
Pretty Woman: The Musical follows Vivian Ward, a streetwise Hollywood escort working the seedy streets of Los Angeles, whose life takes an unexpected turn when she meets mega-wealthy businessman Edward Lewis. Hopelessly lost and unable to drive a stick, Edward hires Vivian to guide him back to his hotel, before extending the arrangement into a week-long contract as his companion for a series of high-profile social engagements.
What follows is a modern Cinderella story that blends rags-to-riches romance with echoes of My Fair Lady. Irresistibly out of place in Edward’s world, Vivian remains unapologetically herself while quietly reshaping the lives of those around her. Remaining faithful to the film, Pretty Woman: The Musical delivers all the iconic moments, from the Rodeo Drive shopping spree to the jewellery box scene, as well as all the memorable dialogue (‘You work on commission, right?’) and gives the story the musical treatment.
Taking on a role made famous by Julia Roberts is no small feat, but Samantha Jade rises to the challenge with the perfect blend of poise, charm, and moxie. In her musical theatre debut, the ARIA Award-winning singer and actress is sensational as Vivian Ward.
In a touch of Hollywood serendipity, Jade learned she had landed the role while checking out of the Beverly Wilshire, the very hotel immortalised in the film. Her powerhouse vocals are unsurprisingly exceptional, but it’s her ability to capture Vivian’s warmth, wit, and vulnerability that makes this debut such a triumph. The fact is, the success of the show rests squarely on the portrayal of its Pretty Woman, and in this case, Jade exceeds every expectation.
Opposite her, Ben Hall, whose credits include Elvis: A Musical Revolution and Les Misérables, is perfectly cast as corporate raider Edward Lewis. Hall naturally exudes a debonair charm, while his heartfelt rendition of Something About Her lends tenderness and emotional depth to a character that could otherwise feel aloof.
Other notable cast members include Australian comedian Michelle Brasier as Kit De Luca, who is one leopard print outfit away from Fran Fine and is an absolute smash in the song Rodeo Drive. Tim Omaji (Timomatic) seamlessly switches between the dual roles of Happy Man and hotel manager Mr Thompson with the charisma and command of a seasoned entertainer, while Jordan Tomljenovic delivers an unexpectedly funny turn as bellhop Giulio, stealing several moments with his impeccable comic timing.
With music by rock legend Bryan Adams and longtime collaborator Jim Vallance, the score is exactly what you’d expect, delivering slick pop-rock, guitar-driven numbers with a touch of contemporary musical theatre. Highlights include Anywhere But Here and the uplifting 11 o’clock number I Can't Go Back, both of which allow Jade to showcase her impressive voice. The latter brings the house down, with Jade unleashing the full force of her talent. Elsewhere, On a Night Like Tonight stands out with Latin flair, as Omaji leads the vibrant tango-inspired number with infectious energy.
While the show forges its own musical identity rather than relying on the film's beloved soundtrack, audiences needn’t worry, as Roy Orbison's Oh, Pretty Woman makes a welcome appearance.
Capturing the unmistakable aesthetic of late 1980s Los Angeles, the production features a cinematic backdrop worthy of the beloved film through the work of renowned architect and Tony Award-winning set designer David Rockwell. His sets capture the buzz of Hollywood Boulevard, the luxury of Rodeo Drive and the elegant Beverly Wilshire penthouse suite through details including laser-cut hotel gates, towering palm trees, a bathtub, and a rotating opera box.
Inspired by Marilyn Vance’s unforgettable costumes from the film and based on Gregg Barnes’ original Broadway designs, Tom Rogers’ costumes chart Vivian's transformation. From her slinky cut-out dress and thigh-high boots to the red opera gown, polka-dot polo dress, and elegant ivory pantsuit, Vivian’s wardrobe reflects her journey towards empowerment. Josh Marquette’s hair design proves equally memorable, as the only thing bigger than Jade’s voice is her voluminous hair.
It’s fitting that one of the story’s most memorable moments unfolds at the opera, where Vivian finds herself swept away by the spectacle of live theatre. Pretty Woman: The Musical hopes to inspire that same sense of joy for today’s audiences and, judging by its reception across the country, it does just that.
It’s difficult to pinpoint exactly why this show has completed a national tour while other equally deserving productions have not. Perhaps it’s Jade’s magnetic performance. Perhaps it's the familiarity of the title, or audiences gravitating towards nostalgia in uncertain times. Whatever the reason, Pretty Woman: The Musical has bucked a troubling trend in Australian commercial live theatre, serving as a welcome reminder that audiences are still willing to fall in love with theatre.
