Pretty Woman: The Musical, at the Regent Theatre

There is so much joy in Pretty Woman: The Musical.

I adore what the collaborators have done with the beloved story of the Hollywood sex worker and the wealthy businessman.

It is based on the 1990 feel good romance, written by J. F. Lawton and directed by Garry Marshall, starring Julia Roberts and Richard Gere. 

Photos by Daniel Boud

The book of the musical is by Marshall and Lawton, with an original score in a rich variety of genres.

Gone is the soundtrack from the movie, replaced by pop, rock and, even, opera.

It is the brainchild of Grammy Award winner Bryan Adams and his long-time songwriting partner, Jim Vallance, and it works a treat.

The story concerns ruthless corporate raider Edward Lewis who chances across street worker Vivian Ward while looking for directions to the Beverly Wilshire hotel.

Their connection is instant. From a poor background, she is warm and sassy, and not afraid to give him some lip. In short, she is unlike anyone he has known.

Still, he is all business, as he is about to acquire and dismantle a ship building company.

After hiring her for the night, Lewis offers Ward a further six-day deal, the length of time he intends to stay in California.

In showering her with designer clothing, fine dining and evenings out, Lewis turns Ward’s head and she his. 

But a reckoning is coming, as a misspoken word to his equally mercenary lawyer is the first of two missteps that could see Ward out of his life forever.

This is a Cinderella story, in which he needs to right the wrongs, while she brings out the best in him.

That includes a more considered and caring attitude to his business transactions.

Pretty Woman: The Musical is a gorgeous production, full of life, thanks to a fine and engaging cast. 

With striking, mellifluous vocals and an endearing personality, Samantha Jade is superb … absolutely delightful as Ward.

As Lewis, Ben Hall’s warm, baritone voice has an emotional edge. He is, indeed, the yin to Ward’s yang.

Michelle Brasier generates power, bite and dynamism with her strong vocalisation as seasoned professional hooker and Vivan’s protective bestie, Kit De Luca.

Tim Omaji is a revelation as the congenial heartbeat of the streets, known as Happy Man, who encourages all to follow their dreams. 

He doubles as the empathetic, see all, know all manager of the Beverly Wilshire, Barnard Thompson.

Omaji has charm and polish in several scene stealing sequences.

His interactions, including dance numbers, with bellhop Giulio, provide some of the most memorable moments in the musical.

Jordan TomIjenovic is spritely and spirited – a comic foil – in realising Giulio.

Douglas Hansell revels in callous disregard as Lewis’ legal eagle Philip Stuckey.

Supported by an engaging ensemble, complete with slick choreography, the storyline unfolds with verve and good humour. 

Costume designer Tom Rogers has excelled with his clothing choices, particularly in his transformation of Ward, embracing some beautiful gowns.

None are better than her stunning red number as she attends the opera with Lewis.

David Rockwell’s evocative, uncluttered scenic design gives us a feel for time and place.

That is enhanced by the energising lighting design by Kenneth Posner and Philip S. Rosenberg, while John Shivers’ sound design is crisp and clear. 

Musical director David Skelton is masterful in bringing the best out of the talented six-piece band, generating heart and soul from the broad ranging repertoire.

Director and choreographer Jerry Mitchell has worked wonders with a show that resonates from start to finish.

Plaudits too to resident director Jennifer Dean and resident choreographer Lauren Jimmieson.

Pretty Woman: The Musical is sensational. I can only encourage you to rush out to see it because it elevates the mood, making you feel so good.

Two and a half hours, including interval, it is on at the regal Regent Theatre until 13^th September, 2026.