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Musical (2018)

Musique: Bryan Adams • Jim Vallance
Paroles: Bryan Adams • Jim Vallance
Livret: Gary Marshall • J.F. Lawton

Type de série: Original
Théâtre: Nederlander Theatre (Broadway - Etats-Unis)
Durée : Se joue actuellement
Nombre : 27 previews -
Première Preview : vendredi 20 juillet 2018
Première : jeudi 16 août 2018
Dernière : Open end, ouvert actuellement jusqu'au jeu. 01 janvier 1970
Mise en scène : Jerry Mitchell
Chorégraphie :
Avec : Samantha Barks (as Vivian Ward), Andy Karl (as Edward Lewis), Orfeh (as Kit De Luca), Jason Danieley (as Phillip Stuckey), Eric Anderson (as Mr. Thompson), and Ezra Knight (as James Morse)
Presse : "Let me make it clear that I mean no disrespect to Ms. Barks when I say that she is not Julia Roberts. Best known for playing the waifish Éponine in the movie musical Les Misérables, Ms. Barks is clearly a talented singer and actress. But being used as a paper doll for Gregg Barnes’s “I Love Julia” costumes, while speaking verbatim Ms. Roberts’s lines from the film, she has been given no chance to banish stardust memories of the woman who created her part. Directed and choreographed as if on automatic pilot by Jerry Mitchell, Pretty Woman: The Musical has a book by the original film's director, Garry Marshall (who died in 2016), and screenwriter, J.F. Lawton, with songs by Bryan Adams and Jim Vallance. Its creators have hewed suffocatingly close to the film’s story, gags and dialogue." Ben Brantley for New York Times

"The cast makes the most of what Pretty Woman allows them. The winsome Barks, who played Éponine in the movie Les Misérables, sings very well and has a believable connection with Karl, who undersells his sexiness wisely. Orfeh provides sass and power vocals as Vivian’s best friend, Jason Danieley is a solidly smarmy villain, and Eric Anderson injects humor and showmanship into his dual roles as a street-singing narrator and a benevolent hotel manager. But although it is capably staged, the show has no reason to exist beyond, one assumes, a desire to make money by pimping out a familiar property. Broadway can do better than the same old tricks." Adam Feldman for Time Out New York

"In truth, the singing is all well and good, but considering the evolution of gender politics over the last 30 years, Pretty Woman today comes off pretty tone deaf." Roma Torre for NY1

"End-of-the-'80s nostalgia rules at the Nederlander Theatre, where the cut-and-paste musical version of Garry Marshall's 1990 romantic comedy, Pretty Woman, is re-creating the cultural-touchstone movie beat for beat, set to a score by Bryan Adams and songwriting partner Jim Vallance that could easily pass for vintage FM-radio pop-rock singles. Just as the film was a stellar vehicle for Julia Roberts, the musical showcases a radiant performance from Samantha Barks as the Hollywood Boulevard prostitute that becomes the "beck and call girl" of a corporate raider. True to the famous closing scene that launched a squillion swoons, he rescues her and "she rescues him right back."" David Rooney for Hollywood Reporter

"With anything mature or sensual systematically removed, Pretty Woman: The Musical goes all-in on fantasy, casting two sizzling talents, Samantha Barks and Andy Karl, as bland, pretty people singing pretty Bryan Adams-Jim Vallance tunes with nothing much at stake. Stubbornly inconsequential, it’s a morally uplifting fairy tale of which everyone, young and old alike, can be skeptical." Bob Verini for Variety