Jukebox musicals often feel like a shortcut—light on story, heavy on nostalgia. So when I first heard about a stage adaptation of Pretty Woman, I assumed it was another jukebox cash-in. To my surprise, it’s not. It earns real credibility with an original score.
Based on the hit romantic comedy starring Julia Roberts and Richard Gere, Pretty Woman: The Musical finds fresh intrigue in its leading lady. A bona fide Aussie pop star, Samantha Jade boasts an ARIA Award, a duet with Pitbull, and a turn as Kylie Minogue in The INXS Story. Remarkably, this marks her first-ever stage role.
The story is a 1990s version of Cinderella. Vivian, a street-smart escort, is hired by Edward, a businessman, for a week of high-society events. Glamour, charm, and an unexpected (but expected) romance develop, challenging them both.
Pretty Woman doesn’t try to reinvent the genre—it leans into it. The jokes are corny, the characters stereotypical, and despite its original score, it still feels like a jukebox musical. Grammy winner Bryan Adams—yes, Summer of ’69 and (Everything I Do) I Do It for You—co-wrote the songs with Jim Vallance. The score blends pop with country rock, and while predictable, it delivers where it counts.
It’s the ballads where Adams’ score shines, offering emotional depth beyond the fairy-floss romance. Ben Hall (Elvis: A Musical Revolution) brings good looks and suave restraint to the role of Edward the businessman, anchoring the story with quiet charisma. Samantha Jade sparkles as Vivian—the hooker whose heart really isn’t into it—her petite presence is irresistible. She handles the vocal demands with ease and elevates the character beyond nostalgic callbacks.
Hall and Jade’s solo numbers are standouts: “Something About Her” (Hall) and “Anywhere But Here” (Jade), both early in the show, land with impact. The supporting cast, led by Tim Omaji and Michelle Brasier, are versatile performers who command attention. Their role is to keep the energy high, and they succeed with flair.
The show, originally directed and choreographed by two-time Tony Award® winner Jerry Mitchell (Kinky Boots, Legally Blonde), is recreated in Australia by Rusty Mowery. The set is deliberately functional, relying on a cyclorama and flown-in pieces to suggest rather than replicate the location. This minimalist approach favours atmosphere over realism, using lighting, props, and a vibrant supporting cast to conjure Hollywood Boulevard and the Regent Beverly Wilshire Hotel.
The company look like they’re having fun and giving it their heart and soul—and honestly, what more can you ask?
Pretty Woman: The Musical doesn’t want you to think too hard, and it’s not trying to say anything new. It’s a crowd-pleaser, pure and simple. A fun night out, a hit of nostalgia, with attractive lead players with strong voices, Jade being the standout. The show wrapped up with the 1964 Roy Orbison and Bill Dees classic, “Pretty Woman,” to thunderous applause. Another fairytale comes to an end; no glass slipper, just stilettos and power ballads.
Pretty Woman: The Musical is currently playing at the Lyric Theatre, Queensland Performing Arts Centre (QPAC) in Brisbane. It is scheduled to run until 9 November 2025 before moving to Sydney’s Royal Theatre on 25th November.
More Info: https://linktr.ee/noelanderson
Harlequin ink 
Leave a comment