(seen at the afternoon performance on 17th February 2024)
In a slightly simpler touring form, “Pretty Woman The Musical” seems a little stronger than when the monkey saw it in the West End just before the world went crazy in 2020.
This time, it is Sydnie Hocknell under the blonde wig. Yes, little Sydnie “Eva” Hocknell from the National Youth Music Theatre’s “Bring It On” at Southwark Playhouse in summer 2018. All grown up and selling herself (alas) on the streets of Hollywood.
The monkey remarked then on her range of emotions, and it is delighted to say that her Arts Ed training has now brought out the best. Not a carbon copy of either the movie Vivian or her stage predecessors, Hocknell does it her way.
Vulnerable beneath the sass to begin with, revealing the scared, abused girl beneath as something grows between herself and her client. The key to the role is the slow-burn, and she finds this in every way. From an awkward vocal start her voice opens to lend colour to her character. If the “you just did” line is a little rushed, the meaning is clear, the final resolution satisfying all.
Oliver Savile is an Edward Lewis you would want to be with. Less brusque than pre-occupied, clearly dealing with the pain of loss despite his denials, and with a strong streak of decency to add to his appeal.
There is also excellent work from Natalie Paris as Kit De Luca. Stunning vocals, owning the stage like she instructs Vivian to own Edward on first meeting. Her future career as an L.A.P.D officer is assured.
The versatile Ore Oduba makes the very most of his combined role of hotel manager Mr Thompson and our host Happy Man. Overcoming some microphone trouble, from introduction to hotel guru, Oduba always takes the five-star care of us that his establishment prides itself on.
Further, with sidekick Noah Harrison as Giulio the bell-hop, their dance numbers are executed to perfection. Harrison’s own comic timing never fails either, much to the audience’s delight.
David Rockwell’s slimmed down set is an improvement on the cardboard visuals of the original London run, or at least suit the Wimbledon stage better. Special note must be made of Hayley Craven and the stage management team running it; operating a particularly smooth show and finding time for a little dance in the wings while waiting to aid a quick change.
There is space for Jerry Mitchell’s bland street choreography on the stage. Whether there is space in the show itself is another question. Part of the appeal of the film is the speed at which the situation moves on. Here, the bigger dance routines feel at times superfluous, the songs – “Rodeo Drive” and “Opening Of Act II” in particular feeling superfluous to the events they attempt to set up.
The songs remain less than memorable, without a stand-out standard beyond the imported title track. Worse, “It Must Have Been Love” remains missed too. “On A Night Like Tonight” / “Don’t Forget To Dance” has the most impact, but “Big Mistake, Huge” still does not land as it should as a musical moment.
The monkey stands by its original assessment that the musical sags a little in the second half, almost elongated to justify the ticket price. A simple screenplay adaptation would perhaps have proven equally satisfying.
That said, it remains a bright enough show with strong moments of real emotion and characters everybody cares for right up until that balcony moment. Played with vigour and conviction by this new cast, not to see it when it comes your way would be a big mistake. Big. Huge.
4 stars.
Photo credit: Marc Brenner. Used by kind permission of the New Wimbledon Theatre.