One of the most successful romantic comedies of the last 30 years has been staged on Broadway.
Pretty Woman: The star of the Musical the Isle of Man actress Samantha Barks as Vivian Ward, the role that catapulted Julia Roberts to stardom in the 1990 film.
The reviews have been mixed, with The Guardian gives it one star and calling it “a tasteless disaster.”
However, The Telegraph gave it four stars and praised the chemistry between the Bark and her co-star Andy Karl.
Karl carries out the engine, Edward Lewis, to fill the shoes of Richard Gere.
“They make an awfully fun, and a pair of magnets,” the Telegraph, critic Diane Snyder has written.
“Barks is sparkling and courageous, a winner, a sheet for Karl (a recent Olivier winner for the musical of Groundhog Day), who finds a rich emotional background in the uncompromising entrepreneur”.
The film, which tells about the relationship between a millionaire and a prostitute of Hollywood, has been ranked as the highest-grossing romantic comedy of all time.
The Stage has also given the new musical adaptation of a four-star hotel.
“Jerry Mitchell’s peppy production is driven by the sheer professionalism of his delivery, attractive soft-rock songs of Bryan Adams and Jim Vallance, and the chemistry of its leads,” Mark Shenton written.
Shenton also welcomed the scene for the theft of “fierce, belt voice” of the actress Orfeh, who plays Vivian, the best friend of Kit.
However, The Guardian, Alexis Soloski called the musical “tune, schlocky, and deeply offensive”.
You wrote: “You might think that a musical adaptation, even that created by a male creative team, it would be a nod to a couple of cultural changes or, at least, given its female protagonist, the plot credible.
“You might have thought wrong.”
The show is “still a moving story of how the sex, that teaches a man to feel and money in the name of a woman… the shop?” Soloski wrote.
“But now is a middle-aged male narrator (Eric Anderson) added”.
Reviewer time Adam Feldman said that the musical was “only a dutiful replication of the film,” with “nearly every line in approximately the same order”.
He added: “Even Roberts signed the costumes are copied, and, at times, presented to the input of applause.”
He added: “Not only does this approach miss out an opportunity to rethink the history of the sugar-daddy fantasy, in a deeper way, it also gets stale fast; this is not our first time on Rodeo Drive.”
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