Pretty Woman The Musical, now playing at Theatre Royal Sydney, follows the familiar arc of the beloved film: corporate tycoon Edward Lewis hires Hollywood Boulevard sex worker Vivian Ward for a week that ultimately reshapes them both. Onstage, the show sticks remarkably close to the movie’s blueprint, recreating each iconic moment with affection. For audiences who adore the film, that fidelity may feel comforting; however, the musical rarely takes the opportunity to deepen or reinterpret the story for the stage, leaving the narrative feeling a little thin.
Jerry Mitchell’s direction and choreography carry his signature sheen, but the pacing often feels hurried. Scenes rush from one to the next without the breathing space needed for emotional connection, and some transitions land before the audience is ready to move on. While the choreography is neat and polished, it doesn’t quite elevate the storytelling as one might hope. There’s a sense of potential that never fully opens up, as though the production is playing safely rather than boldly.
Bryan Adams and Jim Vallance provide a score with some catchy touches, but the lyrics lean heavily into straightforward exposition. The simplicity works in moments but often results in songs that narrate rather than illuminate the characters’ inner worlds. Though tuneful, the numbers could benefit from greater lyrical nuance to help draw the audience deeper into Vivian and Edward’s emotional journey.
Tom Rogers’ costumes are a highlight for film fans—recognisable, era-appropriate, and lovingly faithful to the original designs. They help anchor the production visually, even if that close adherence occasionally limits creative reinterpretation. David Rockwell’s scenic design is similarly serviceable, painting a clear picture of late-80s Los Angeles, though sometimes a little too literally. The bath scene, staged with wadding sheets, is perhaps the only moment that tips into unintentional humour and feels cheaper than the rest of the design aesthetic.
Sound levels were occasionally unbalanced on the night, with lyrics and dialogue swallowed in the mix. It’s a technical issue that detracts from storytelling, but one that may well improve over the run.
Despite the production’s challenges, the ensemble deserves enormous credit. Their energy is infectious, their commitment unwavering, and they work incredibly hard to lift every moment. Fabian Andrés’ distracting abs are their own character and steal focus in the best possible way. Jordan Tomljenovic as Giulio is a burst of comedic delight, sparking genuine laughter with sharp timing, and Rebecca Gulinello’s Violetta offers a standout vocal moment in La Traviata—a genuine thrill.
Michelle Brasier brings grit, humour, and vocal punch to Kit De Luca, giving the show some much-needed texture. Tim Omaji is charismatic as Happy Man/Mr Thompson, though his performance feels comfortably within his usual persona. Samantha Jade offers lovely vocal moments as Vivian, but struggles to embody the character’s naïveté and emotional depth. Ben Hall, polished and consistent, channels the suave charm of Edward Lewis with his own grounded warmth. However, even in their more intimate scenes, the chemistry between the leads never quite ignites in the way the story needs.
There are pockets of charm throughout the evening and committed performances that genuinely shine. But overall, the production feels held back by its devotion to the film and a tendency to play it safe. The audience on the night occasionally laughed during moments meant to be sincere—a sign that the tone doesn’t always land as intended. Pretty Woman The Musical has all the ingredients for a fun, escapist night out, but never fully rises to the glossy, heart-warming potential at its core.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins. Follow him on all the socials @talldancraig
Pretty Woman the Musical runs for 2 hours and 30 minutes (with a 20-minute interval) and plays at the Theatre Royal Sydney, through 1 March 2026. Tickets are available through Theatre Royal Sydney.
Disclosure: The Plus Ones were guests of Jessica Bendell Publicity.
Image credit: Daniel Boud
