The Long Island Advance
‘Pretty Woman The Musical’ is pretty fantastic
Who would have thought a story chronicling a weeklong deal between a sassy lady of the night and a strait-laced corporate raider with manners would become a flat-out amazing show.
But it did, under the Gateway’s direction, choreography, sets, and music last Friday night, in Bellport, with “Pretty Woman The Musical.”
I loved this cast. I loved this show. The mostly improbable premise has fun-loving scenes, humor, and heart in this first regional and national tour production since Broadway.
The leads, Leah Platt as Vivian and Sean Seamus Thompson as Edward, play off their undeniable attraction perfectly. (Wow! Their singing. Where does that power come from?) Platt’s Vivian is bowled over by Edward’s wealth, but not so much as to stifle her free-spirited goofiness dusted with wisdom at times, while the handsome Thompson as Edward portrays him with an easy grace. Not smarmy, but a likeable workaholic billionaire. He wants Vivian to spend time at a penthouse in the Beverly Wiltshire Hotel for a week, with occasional dates while he tends to business.
The story debuted as a 1990 hit film. Sometimes a musical doesn’t hit the same home run as its movie, but the book, by Garry Marshall and J.F. Lawton, evolved into a witty and entertaining show.
There is so much talent here and so many ebullient scenes that come one after the other, beginning with Jalon Matthews as Happy Man, Mr. Thompson, Mr. Hollister and Senator Adams (mostly as Happy Man and Mr. Thompson, the hotel manager). Matthews is a wonder in song and dance as he maneuvers the musical with narration, first as Happy Man, setting the stage for the inaugural song, “Welcome to Hollywood,” among the downtown boulevard collection of working people of all sorts in midriff costumes, cowboy hats, jeans. He’ll pop in from time to time, nudging the story along that takes place in the ‘80s.
When Vivian needs a sophisticated dress, “Rodeo Drive” blasts out with a bluesy guitar and women strutting in couture sequins and bustiers, as they all dance with attitude against a colorful background.
“On A Night Like This” is pure Hollywood musical camp, as the dancing Mr. Thompson (Matthews) tries to teach Vivian the finer steps for her date with Edward. He leads off hotel staff in green jackets and caps with cream pants, then dances with Giulio (a hilarious Anthony DaSilva, in a number of scenes). The staff becomes one in a line, and lift Mr. Thompson. (Goodness! What can’t Matthews do?)
Watch Vivian break out into a shimmy on her date night after trying staid in “Don’t Forget to Dance”), then freewheels it with Mr. Morse (Ryan Hurley), the owner of the shipping company Edward wants to take over. (Vivian isn’t enamored of Edward’s intentions with Morse’s company and voices her opinion.)
Director Keith Andrews, a former dancer, choreographed the production with associate choreographer Kelly MacMillan. They honed the energetic, and at times beautiful, dancing, including a bit of sassy rap. When the cast works it, it’s amazing.
Fatima El-Bashir as Kit , Vivian’s best friend, hits gospel opening notes with “Luckiest Girl in the World,” rooting for her friend Vivian, and does it again at the end of “Rodeo Drive” with her powerful voice. She is riveting and funny portraying a world-weary worker who wants Vivian to get what she can. And also break out herself. (She always wanted to be a police officer.)
But it was the scene at the opera with Vivian in the iconic red dress at the theater box with Ryan Hurley double-dipping as the character Alfredo, who breaks into a full-blown “La Traviata” aria with Sarah Wang singing as the tragic Violetta, that brought audible gasps. It is a drop-dead stunner. Hurley is a graduate of The Juilliard School and has done MetLiveArts/Metropolitan Museum of Art.
Wang’s stage credits span opera and musical theatre, with standout roles in “Le Nozze di Figaro,” “La Traviata,” “Little Women,” “Così fan tutte,” and “Madama Butterfly.”
While Vivian was clearly moved, which touches Edward as he watches her and sings “You and I,” so was the audience. But that’s not all. The cast emerges in beautiful sequined masks, gowns, formal dress and waltz against a dreamy, shadowed background.
The sets moved quickly and seamlessly; the costumes elevate the show to Tony Award level.
The actual theater box that Vivian and Edward sit in is red with intricate scrolling and gilt. It eventually rotates, allowing the couple to exit down steps gracefully.
The Beverly Wilshire penthouse has sumptuous drapes, a grand piano, lovely couch, a double balcony overlooking Hollywood Hills. Even the shopping scene where Vivian finally gets respect has sales associates in snazzy navy-and-white costumes with classy hats, going through racks of potential clothes.
There is a villain. Daniel Robert Sullivan plays Philip Stuckey, Edward’s lawyer, who wants the corporate takeover deal of Morse’s family shipping company to go through (he would make millions.) Sullivan excels as Stuckey, a ruthless blowhard who assaults Vivian. The audience reacted when that happened. (Don’t worry, Vivian gets him good.)
As for the famous Roy Orbison hit “Pretty Woman,” Lance Jewett as Six String tries to play it several times onstage, but is shooed away by Happy Man until the end, when the audience is encouraged to sing along.
The realization that love can happen and change can take place is the powerful message here. Is the story a fantasy? Maybe, but as Vivian discusses her life with Edward, and Kit relates hers to Happy Man, you understand what brought them to their careers. We won’t give away the ending, but the audience left buzzing about the show’s excellence. Start summer on a happy note.
Patch.com
The Gateway's "Pretty Woman: The Musical" is Summer's Hottest Ticket!
Everyone loves a good Cinderella story, and The Gateway's latest production is all that and so much more! "Pretty Woman: The Musical" is a stage adaptation of the beloved 1990 movie starring Julia Roberts and Richard Gere. The film's screenwriter, J.F. Lawton, and director, Garry Marshall, wrote the book for the musical, and Bryan Adams and Jim Vallance composed the score. This romantic musical comedy premiered in Chicago in March 2018, debuted on Broadway five months later, and opened in London's West End in 2020.
The plot is simple: Once upon a time in the late 1980s, Vivian, a sex worker with a heart of gold, and Edward, a seemingly heartless billionaire, meet on Hollywood Boulevard. Over the course of a whirlwind week, what started as a simple business transaction developed into a passionate love affair, and they all lived happily ever after.
This two-act musical explores complex themes, including the importance of never giving up on a dream, discovering self-worth, the transformative power of love, finding redemption, and the deceptive nature of appearances.
Playing the romantic leads, Leah Platt as Vivian Ward and Broadway veteran Sean Seamus Thompson as Edward Lewis both delivered award-worthy performances. The intense onstage chemistry between these two superstars was one of the show's high points. Platt showcased her stellar vocals throughout the production and rocked her three solos, "Anywhere But Here," "This Is My Life," and "I Can't Go Back." Thompson delivered a heartrending rendition of the beautiful ballad "Freedom," and Platt and Thompson's powerful duet, "Long Way Home," was an absolute crowd-pleaser!
The show-stopping rock ballad "You and I" takes place at the opera where Vivian and Edward attend "La Traviata." In English, "La Traviata" translates to "The Fallen Woman," and this timeless opera tells the tragic tale of a Parisian courtesan who attempts to escape her oppressive life in search of true love. Verdi's masterful opera delves into the harsh judgment women face when they deviate from societal norms. "La Traviata's" plot and theme aptly fit the musical's narrative, and in this stirring scene, Violetta (Sarah Wang) sings an aria to her beloved Alfredo (Ryan Hurley), while Edward pours out his heart, revealing his true feelings for Vivian.
Fatima El-Bashir aced the role of Kit De Luca, another sex worker, and Vivian's best friend and confidante. El-Bashir is a powerhouse performer and natural-born comedian who executes her lines with the right amount of sassiness and precision, perfect timing. Her spot-on delivery of the high-voltage pop song "Rodeo Drive" was one of the show's highlights.
With his cocky mannerisms and body language, Daniel Robert Sullivan delivered a standout performance as the despicable Philip Stuckey, Edward's greedy and ruthless lawyer. Jalon Matthews excelled in his multiple roles, and he stole the show with his brilliant portrayal of the reserved Beverly Wilshire Hotel manager, Mr. Thompson, who rips loose during the tango number, "On a Night Like Tonight." The audience roared with laughter as Giulio, the bellhop with pizzazz, played to perfection by the charismatic and charming Anthony DaSilva, jumped in to join the fun.
The top-notch ensemble delivered stellar performances, and a big round of applause goes out to Jordan Cyr, Anthony Dasilva; Audrey Taylor Floyd Ryan Hurley, Lance Jewett, Ashley Klinger, Kelly MacMillan, Michael Prescott McClure, Bethany Novotny, Rodolfo Santamarina, Errol Service Jr, Sarah Wang, and Caitlin Zuckerman.
The outstanding creative team includes Director and Choreographer Keith Andrews, Associate Choreographer Kelly MacMillan, Intimacy Director Ashley Klinger, Musical Director Anthony Brindisi, Lighting Designer José Santiago, Sound Designer Ben Takitch, Costume Designer Gregg Barnes, Wig, Hair, and Makeup Designer Dustin Lawson, and Tour Scenic Designer Christine Peters.
The theater was packed for the opening Saturday night performance, and the audience was already up on their feet, giving a rousing standing ovation when the cast belted out "Oh, Pretty Woman." The audience spontaneously clapped, sang, and danced along to Billy Dees and Roy Orbison's smash hit, the inspiration for the movie.
Provocative, passionate, and poignant, this spectacular summer show runs through July 13, 2025.
