Review Roundup: PRETTY WOMAN: THE MUSICAL Kicks Off its National Tour; What Did the Critics Think?

After being delayed due to COVID-19, the National Tour of Pretty Woman is now on stage! The musical kicked off at the Providence Performing Arts Center earlier this month, and is now playing at the Aronoff Center in Cincinnati, OH.

The touring company stars Adam Pascal as Edward Lewis alongside Olivia Valli as Vivian Ward.

Based on one of Hollywood's most beloved romantic stories of all time, Pretty Woman: THE MUSICAL is brought to life by lead producer, Paula Wagner, and a powerhouse creative team representing the best of music, Hollywood, and Broadway, with direction and choreography by two-time Tony Award®-winner Jerry Mitchell (Kinky Boots, Legally Blonde), original music and lyrics by Grammy®-winner Bryan Adams and Jim Vallance ("Summer of '69", "Heaven"), and a book by the movie's legendary director Garry Marshall and screenwriter J. F. Lawton. Pretty Woman: THE MUSICAL has scenic design by David Rockwell, costume design by Gregg Barnes, lighting design by Kenneth Posner and Philip S. Rosenberg, sound design by John Shivers, hair design by Josh Marquette, makeup design by Fiona Mifsud, and music supervision, arrangements and orchestrations by Will Van Dyke.

Let's see what the critics are saying!

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PPAC - Providence, RI

Jay Pateakos, BroadwayWorld: Leading man Edward Lewis is performed by Adam Pascal who played Broadway's original Roger Davis in RENT and is more than a match - with his rock-and-roll trained voice - for the Bryan Adams (and Jim Vallance) soundtrack of gutsy songs. Pascal's haunting voice rocked as a combination of Adams and Mike Reno of Loverboy (and yes, I mean it) in songs like "Something About Her" and "Freedom". Olivia Valli (who played her own grandmother in the off-Broadway production of the JERSEY BOYS) - is the perfect combination of beauty, grit and smarts for this role. Remember that red dress scene made famous by Julia Roberts in the movie? She was perfect for this role, and her voice was fantastic in songs like "Anywhere But Here" and "I Can't Go Back."

Frank O'Donnell, What's Up Newp: There are two show-stealers in this one. Jessica Crouch shines as Vivian's roommate, Kit De Luca. She's funny and she can belt with the best of them. Kyle Taylor Parker pops up in all sorts of roles. He is billed as "Happy Man," but we see him on the street as one of Vivian's friends, in the hotel as Bernard, the manager, as the kiss-up manager of an upscale clothing store on Rodeo Drive, and even in the orchestra pit as the conductor. He goes from character to character with ease, and he's downright enchanting.

Kathi Scrizzi Driscoll, Cape Cod Times: This story has long divided watchers into those put off by the sanitization/normalization of Vivian as a sex worker and those who swoon at the mismatched, save-each-other romance. For the fans, this high-energy tour of the 2018 Broadway musical offers winning performances by sparkling Olivia Valli and Adam Pascal (doing his best with a rather bland role), an uptick of comedy by an appealing supporting cast, and strong renditions of what is a pleasant-enough but overstuffed pop score by recording artist Adams ("Summer of '69," "Heaven") that pounds home the show's messages.

Aronoff Center - Cincinnati, OH

Taylor Clemons, BroadwayWorld: The cast is led by relative newcomer Olivia Valli as Vivian. This show is her first leading role having been an ensemble player in various companies over the last few years. I cannot overstate how perfect Valli is in the role. Vocally she's stunning, but what makes this combination of performer and role such a match made in heaven is the fact that Valli brings an unmatched level of charm, wit, spunk, and grit to the role. Those qualities are what bring Vivian to life, and Valli embodies them all with her own delightful brand of flair and attitude. Opposite Valli is theatre vet Adam Pascal as our leading man Edward Lewis. Edward isn't my favorite character, and this adaptation of the story paints him in ways that lack dimension, but in Pascal's case, a good performer is able to find the good in subpar material. He and Valli had a great rapport and chemistry, and Pascal's voice ages like a fine wine, his soulful rock signature style is on full display when he gets his moments to shine.

Scott Cain, Talkin' Broadway: The cast of the current tour of Pretty Woman boasts a well-known leading man in Adam Pascal, seen here previously in Rent and Something Rotten. Mr. Pascal was a replacement Edward during the short-lived Broadway run, and his rocker vocals are a great fit for the material. He possesses the requisite charm and stage presence for the role and provides sufficient acting chops. Olivia Valli isn't nearly as well known, but she holds her own as Vivian. Ms. Valli captures the essence of the appropriately gawky yet endearing hooker with a heart of gold. She's quite charismatic, displays first-rate singing vocals, and gains the needed empathy from the audience. Jessica Crouch shows off strong vocals as Vivian's prostitute friend Kit, and Kyle Taylor Parker is a tour-de-force as the "Happy Man," the show's narrator who pops up in various roles throughout. Each cast member demonstrates multi-dimensional skills and energetic effort.

Trevor Tiemeyer, Xavier Newswire: One of the bright spots of the show was Kyle Taylor Parker in the role of Barnard Thompson/Happy Man. Parker nailed this role. He perfectly executed the happy-go-lucky street dweller who inspires dreams and the caring hotel manager. Even when these roles begin to blur lines at the end of the show, Parker managed to keep the separate and special.

Fisher Theatre - Detroit, MI

Stefani Chudnow, BroadwayWorld: Broadway powerhouse and Tony Award®-nominee Adam Pascal and rising star Olivia Valli star as the elusive Lewis and the charismatic Ward respectively. It is a real treat to see these two embody the characters while making the roles their own. Pascal's well-known rock and roll voice and Valli's youthful wit suit them perfectly for their respective roles, oftentimes in ways you don't expect. You should look forward to the aforementioned solo numbers and "You and I," where Pascal and Valli really get a chance to shine.

Ronelle Grier, The Detroit Jewish News: Among the brightest stars of the production is Kyle Taylor Parker, who played multiple roles and lit up the stage in every one. Appearing in the opening scene as the "Happy Man" on Hollywood Boulevard, Parker shifted easily between subsequent roles as hotel manager of the ritzy Beverly Wilshire and the manager of the Rodeo Drive store where Edward brings Vivian for a major shopping spree. He also appears briefly as the orchestra conductor when Edward and Vivian attend the opera, a wonderful scene highlighted by the diva-quality voice of Amma Osei.

Gloria Rzucidlo, AmericaJR: The musical ensemble was electrifying and they sang songs such as: "Welcome to Hollywood," "I Could Get Used to This," "Rodeo Drive" and of course, "Pretty Woman." The choreography was perfect. Vivian's infamous red dress was exactly the same as in the movie. Also, Valli's performance seemed to be more lively, cheerful and energetic than in the movie.

Gary Graff, The Oakland Press: "Pretty Woman" is nevertheless an enjoyable pop musical that serves its source material well and lets its audience get lost in the sweet glitz of a good-time fable about a good-hearted prostitute, Vivian Ward (played by Olivia Valli), and the billionaire Edward Lewis (Adam Pascal) who she wins over.

Fox Theatre - St. Louis, MO

Calvin Wilson, STL Today: With a few exceptions, such as Vivian's statement of intent "Anywhere but Here," the songs by Bryan Adams and Jim Vallance are little more than serviceable. And the book by Garry Marshall and J.F. Lawton is cribbed too heavily from the film, which Marshall directed and Lawton wrote. Not much has been done to rethink the story for the stage. And it might be argued that, in the #MeToo era, the whole premise is woefully dated.

Mark Bretz, LaDue News: Adam Pascal, who played the role of Edward on Broadway in the show's one-year run in 2018-19, reprises the part in this touring production, which just began last month. He isn't Richard Gere but he is smooth as the surprisingly pleasant business tycoon. Edward is more interested in money than in people, however, and Pascal maintains Edward's buttoned-down approach to relationships, which gradually erodes thanks to Vivian's vivacity.

Jeff Ritter, Critical Blast: The show itself, unfortunately, is perhaps too faithful to the source material. There is a fair amount of dialogue that if not lifted word for word from Marshall and Lawton's screenplay are at least close enough to sound like they were. if someone other than the same creators who wrote the original material did that they'd be roundly criticized in the theatrical world for it and likely labelled as hacks.. Obviously the tone and plot of the show doesn't stray very far from the film. In the much more sensitive 2020s, that's probably not for the best. The film hasn't aged as well as, say, Ghostbusters, which could be one heck of a musical if done right.

Gerry Kowarsky, HEC: Adam Pascal and Olivia Valli give excellent performances as Edward and Vivian. They have chemistry that works in the theater. Jessica Crouch is a corker as Vivian's sassy best friend, Kit De Luca. Kyle Taylor Parker shines as the narrator known as the Happy Man, who morphs into the very different but equally wise hotel manager, Mr. Thompson. Matthew Stocke hits the mark precisely as Edward's unsavory lawyer, Philip Stuckey.

Shea's Performing Arts Center - Buffalo, NY

Michael Rabice, BroadwayWorld: Vivian Ward is our pretty woman, played by Olivia Valli. Ms. Valli has a pleasant singing voice and a rough around the edges demeanor as she transitions from a tough girl prostitute to a polished woman. Her quirkiness can be charming and she finds humor in the awkward situations she finds herself in. Her vulnerability is evident when she is treated as a trollop in the famous shopping scene on Rodeo Boulevard and when her call girl life is exposed at a garden party. The upper reaches of the score proved to be taxing for her as pitch problems plagued her high notes.

Matthew Nerber, The Buffalo News: Pascal and Valli are both superb vocalists, and have charm to spare, but the structure of this musical too often eschews their stage time together in favor of chorus numbers and side plots. As lovers, Edward and Vivian don't even have a duet until the penultimate number. When the pair does sing - separately - about the central relationship, the songs have been written in the plain language of pop by Adams and Vallance. The numbers are often catchy and fun, but as interior monologues the lyrics don't offer much by way of nuance or insight.

Peter Hall, Buffalo Rising: Olivia Valli as "Vivian" has a great voice and an expressive face that draws you in. Fun Fact: Olivia is the granddaughter of Franki Valli, whose falsetto singing voice was the signature sound of The Four Seasons celebrated in the musical JERSEY BOYS which also played at Shea's. What's more, in an off-Broadway production, Olivia actually played her grandmother! Adam Pascal as "Edward" has a big Broadway voice and a dancer's body and is quite believable in the role, which, let's be honest, is a little far-fetched.

CIBC Theatre - Chicago, IL

Catey Sullivan, Chicago Sun-Times: Adam Pascal's bad-boy growl sounds as good as it did in 1996, when he created the role of Roger in "Rent." His delivery of "Freedom" shows precisely why he's a bona fide Broadway star. Valli's Vivian has pipes for days and is credibly feisty. She also brings a fittingly calculated artifice to her physical vocabulary as Vivian and Ed negotiate the terms of their deal. Tellingly, her body language changes along with her character as the plot progresses.

Chris Jones, Chicago Tribune: This musical, directed and choreographed by the inimitable Jerry Mitchell, is of course, out of step with the moment. But the title and its plot are familiar enough that if you don't want to watch a melodrama about a closed-off capitalist who picks up a lovable sex worker on Hollywood Boulevard and promptly falls in love with her naive charm and reorders his entire life, then no one is going to drag you to the theater. You can stay home and write on Facebook instead.

Let's Play, Chicago Now: Heading the North American tour of Pretty Woman is Tony nominee Adam Pascal as Edward Lewis and Olivia Valli as Vivian Ward. Lewis, with the rock star voice that sounds a little like Bruce Springsteen and Ward, who is a natural talent on stage, has been performing in these roles for several years. Their chemistry as the aging successful businessman with the unsophisticated but streetwise and uncompromising lady of the night works well together. I'm sure BABY GOURL would approve of Olivia's performance. Ask Olivia about this statement.

Academy Of Music - Philadelphia, PA

Julia M. Klein, The Philadelphia Inquirer: With his rugged rock voice, Pascal, best known as the original Roger in Jonathan Larson's Rent, seems miscast as a straitlaced, middle-aged businessman. He commands the stage, especially when he sings, but without conveying much emotion, or even Gere's ironic cool. Suskauer is lovely in Gregg Barnes' dazzling costumes, some of them copying the film's, and delivers her big Act II number, "I Can't Go Back," with conviction. But she doesn't project the magnetism or nail the eccentricities the role seems to demand. Together, the two turn the requisite sizzle down to a simmer.

Benedum Center for the Performing Arts - Pittsburgh, PA

Joshua Axelrod, Post-Gazette: Adam Pascal stars as Edward Lewis, the lonely lawyer played in the movie by Richard Gere who slowly falls in love with a prostitute he picks up on a whim. Olivia Valli, the granddaughter of Four Seasons crooner Frankie Valli, steps into the role of Vivian Ward that made Julia Roberts a household name.

Peace Center - Greenville, SC

Paul Hyde, Greenville Journal: Olivia Valli, granddaughter of Frankie, shines as Vivian with a sizzling stage presence and a dynamite voice on songs such as "Anywhere But Here" and "I Can't Go Back." It's a special treat to see Adam Pascal, familiar to many theater fans as the original Roger Davis in "Rent," playing Edward. Pascal brings his unmistakable soulful rasp to the role; it's an unforgettable performance. Others make big impressions as well. Be prepared to be wowed by another powerful voice when Jessica Crouch struts onto the stage as Kit, Vivian's close friend.

Murat Theatre - Indianapolis, IN

The Marriage Matinee, BroadwayWorld: There are two other characters who brought the fun and the impact: Kit De Luca and Giulio. Kit De Luca, played by Jessica Crouch, is a larger-than-life personality on that stage and owns every minute of it. I was impressed by the power of her voice and the way it balanced and enhanced her character. Vivian is lucky to have such a best friend. Giulio, played by Matthew Vincent Taylor, was pure charm and physical comedy. He was featured several times in scenes where he barely spoke, if at all, and still managed to tickle the audience's funny bone.

Scott L. Miley, The Herald Bulletin: As Vivian, Olivia Valli (Frankie's granddaughter) seems to be having fun with the role, trying her best to make the character bold and brassy. As Edward, Adam Pascal delivers lines exactly as would the stilted conservative businessman he's portraying. The actor to watch is Kyle Taylor Parker whose dance number, "On a Night Like Tonight," sparkles more than any Rodeo Drive gown. His energy and actions are natural and never seem to be begging for audience reaction.

Orpheum Theatre - Minneapolis, MN

Jared F, BroadwayWorld: Most members of the theatre community know Adam Pascal from originating the role of Roger in the Broadway hit musical Rent. Adam has a trained rocker voice, which was well suited for Bryan Adams's musical style - he pulled off the suited wealthy man very well. Oliva Valli (Vivian Ward) is perfectly cast and has an outstanding singing voice. She effortlessly pulls of iconic scenes from the movie such as the iconic rodeo drive and the red dress moments. Her rendition of the "I Can't Go Back power ballad is a stand out.

Chris Hewitt, Star Tribune: It's not hardworking Olivia Valli's fault that she is miscast as Vivian, the Roberts role of a prostitute who's tough but tender, uneducated but canny, "blond" but brunette. Valli has a big voice and a brassy persona that would work great for Evita. But "Pretty Woman" needs her to be modest and wide-eyed, colors that do not seem to be in Valli's palette. So we spend most of the show watching her straining to be adorable, a quality that one either has or doesn't.

Marcus Center For The Performing Arts - Milwaukee, WI

Aly Prouty, Spectrum News 1: Yes, Valli's portrayal of Vivian was not the same as Julia Roberts', but Valli brought her own spunk and pizazz to the role. Her innocent charm and brassy overtones blended flawlessly to create a lovable Viv. Not to mention, Valli hit every note in both solo and ensemble musical numbers, with a standout moment in "I Can't Go Back," where she overtook the stage as her voice filled the entire room.

Anne Siegel, Shepherd Express: Of course, the show's star is Vivian, played here with effervescent charm by Olivia Valli. She displays all the right moves, as well as the voice, that makes Vivian irresistible. In the musical, it takes a bit longer for Vivian to dispatch her streetwise manner in favor of more socially acceptable behavior. Rather than being displeased by Vivian's bluntness and occasional outbursts, Edward is more and more attracted to this elusive creature.

KeyBank State Theatre - Cleveland, OH

Roy Berko, BroadwayWorld: Playing with a handful of substitutes, due to medical problems, the audience, which gave tepid applause to "Welcome to Hollywood," a less than dynamic curtain-raiser, warmed up when charming Olivia Valli, playing the Julia Roberts's role of Vivian, sang, "Any Where but Here," the show's "I want song," whose purpose is to clarify the desires of the leading character and set the plot on track. Olivia doesn't want to be a prostitute, but seems to have no options. It's similar in plot development to "Wouldn't It Be Loverly?" from MY FAIR LADY, where Eliza tells us of her desire to own a flower shop and no longer sell flowers on the street.

Joey Morona, Cleveland.com: But these characters aren't the standard Hollywood-issue archetypes they necessarily remember, either. The songs, by '80s pop-rock icon Bryan Adams and his longtime writing partner Jim Vallance, dig deeper into both of them. Given a sadder backstory, the Vivian here is stronger and more vulnerable than her onscreen counterpart. She's also more charming and awkward than overtly sexy. The role requires a big voice and a bigger personality. Valli, who performs songs such as "Anywhere But Here" and "I Can't Go Back" with the fervor of an '80s pop star, delivers.

Ohio Theatre - Columbus, OH

Christina Mancuso, BroadwayWorld: Leading the cast as Edward Lewis is veteran Adam Pascal who played the original Roger Davis in Broadway's RENT. As a seasoned performer, he is a fitting match to the less experienced Olivia Valli who, as Vivian Ward, captures his heart with her naivety, infectious smile, and relentless grit. In RENT, Pascal has already proven himself a vocal genius and thankfully this musical gives him another opportunity to shine in that regard. However, he seemed to be bored (at least on opening night) playing the role of Edward which unfortunately led to more of a flat acting performance.

Margaret Quamme, The Columbus Dispatch: Valli makes a giddily goofy Vivian, childishly delighted with all the new toys the week offers her, and though she earnestly takes on the big ballads about following her dreams and so forth that the part requires, she seems more at home with the playful, throw-away moments the musical often allows.

Hippodrome Theatre - Baltimore, MD

Timothy David Copney, BroadwayWorld: The ensemble is outstanding. With a nod to diversity, the multiple ethnicities represented contain some outstanding voices, particularly the duo who sing the duet from La Traviata, Christian Douglas and Amma Osei. And especially Trent Soyster as Guilio, who all but steals the show with his rubber band body and excellent comedic timing. Matthew Stocke is appropriately smarmy as the slimy lawyer played by Jason Alexander in the movie.

Durham Performing Arts Center - Durham, NC

Nicole Ackman, BroadwayWorld: In many ways, the musical is a poor imitation of the film with its generic musical theater pop songs and generic musical theater dance. (There is one standout dance scene in which the hotel manager Mr. Thompson teaches Vivian to ballroom dance with the help of the hotel staff.) The show tries to recreate the iconic costumes and famous lines of the movie, but the way in which the jewelry box moment falls flat seems indicative of the rest of the show.

Bushnell Center - Hartford, CT

Ariana Straznicky-Packer, BroadwayWorld: First, it is important to differentiate between a show and a production. Audiences embraced the 1990 movie because Julia Roberts charmed beyond compare, but if we think critically for even a moment, it is a deeply flawed story. The show's creative team had an opportunity to update and develop the story for a new generation. As it turns out, Pretty Woman: The Musical makes an attempt to redeem its predecessor, but sorely falls flat: the book and music are stunningly simplistic, lack originality and variation, and ultimately, leave much to be desired. However, it did spark meaningful conversation: How can we take an iconic, yet problematic, romantic comedy, and adapt it for the stage for 2022? What should we expect of movie musicals? Though I'm tempted to digress, I'll save that conversation for another day.

Straz Center - Tampa, FL

Drew Eberhard, BroadwayWorld: With an incredible closing of a season of epic shows what better way than to close with one of Broadway's biggest names. Adam Pascal originated the role of Roger Davis in the Off-Broadway, Broadway, and Film version of Jonathan Larson's RENT. Also originating the role of Radames in Broadway's Aida, Adam's smooth, and sultry vocals are effortless here. His portrayal of Edward is staunch when it needs to be, and full of swagger with every sultry note in moments of "Something About Her," and "Freedom." Adam not only embodies the role made famous by Richard Gere, but adds his own flair, and makes even the hardest of hearts swoon with every breath.

Paramount Theatre - Seattle, WA

Julie Hanson, Seattle's Child: The Broadway musical "Pretty Woman" has great messages about self-respect and following your dreams. It's also got great characters and high-energy song-and-dance numbers. And of course the (spoiler alert) fairytale ending.

Jay Irwin, BroadwayWorld: The story of the film shouldn't work, but with the writing of J.F. Lawton and the direction of the incomparable Garry Marshall it does. So, it's no surprise that the book of the musical is lifted almost verbatim from the screenplay. If it ain't broke, don't fix it. But then there are the songs from Adams and Vallance. A less inspiring bunch of pop pablum I haven't heard in a while. Utterly forgettable and not a one of them moves any part of the story along.

Dolby Theater - Los Angeles, CA

John Nguyen, Nerd Reactor: The cast of Pretty Woman: The Musical is stellar. Pascal's signature voice is unmistakable and is truly something to experience in person. His performance of "Freedom" feels effortless and emotional, even if the lyrics are about a rich man who just wants to break away from his current life. Valli is lovely and sizzling at the same time, and she brings an adorable allure to the stage. She can hold her own with songs like "I Can't Go Back" where her character desires to be more than what she was.

Alisa Hayashida, South Pasadenan: The reason to see the show is the very talented cast featuring the rockstar vocals of Adam Pascal (as Edward). Any musical theatre lover will instantly recognize his singular vocal stylings that garnered him a Tony nomination for his iconic role of Roger in the Tony Award winning phenomenon, "Rent". Pascal has always possessed that inexplicable "it" factor that mesmerizes and it's no different here. The Bryan Adams and Jim Vallance score is perfectly suited to his voice and he elevates every song he sings and really gets to soar in the number "Freedom". Olivia Valli makes for a spunky, slinky Vivian with a great, big belt of a voice that shines throughout, most notably in the number "I Can't Go Back".

Segerstrom Center for the Arts - Costa Mesa, CA

Michael Quintos, BroadwayWorld: For this touring production, the actor tasked with the title role of Vivian Ward---the vivacious Hollywood Boulevard prostitute armed with street smarts, big dreams, and (somewhat) personal autonomy---is the talented Olivia Valli, who, for the most part, does an admirable job for making the role her own. Vocal-wise, Valli sounds terrific, particularly during songs that require her to belt notes to the stratosphere or rock out. She's also got the sassy, sexy part of Vivian down pat, making the notion of her convincing her latest customer to fork over $3,000 to be her "escort" for the week a believable prospect.

Russell Tom, Social Thrills: "Pretty Woman: The Musical" shows off the right curves for the soft rock concert you'll want to spend the evening with. The songs are well produced and performed like a rock concert. But only a few will have an everlasting effect that can connect with the audience on a personal level. Those shining gems burn bright and earn its staying power in the classic tale of overcoming self-doubt and defying norms. Music and lyric contributions by Bryan Adams and Jim Vallance. Bringing the late '80s, early '90s soft rock flair of the era that helps set the tone for the show.

Civic Theatre - San Diego, CA

Pam Kragen, San Diego Union-Tribune: The musical's 16-song score - ranging from ballads to rock solos to a tango - is chock full of belted high notes, and fortunately the tour's two lead actors have the talent to pull them off. Vivacious Olivia Valli as Vivian has a huge and well-tuned pop voice, and Adam Pascal, as the billionaire Edward, still has the gravel-edged, razor-sharp rock tenor voice that made him famous 26 years ago in "Rent."

Sandi Masori, San Diego Jewish World: There were a few of the company actors who really stood out. Trent Soyster stole every scene that he was in as Julio, and Kyle Taylor Parker, billed only as "happy man" actually played five different characters throughout the show, and did very well with all of them. Actress Anju Cloud from the company nailed her opera solos. What a powerful voice.

Buell Theatre - Denver, CO

Alex Miller, OnStage Colorado: Despite corny and forgettable songs - the bulk of which focus on some theme of being open to change - the show has quite a few standouts on the talent side. Valli is tremendous in the role of Vivian, the perfect realization of an old trope about the hooker with a heart of gold. Tough as nails on the outside yet with a longing to be free of the street, Valli brings her to life with a hugely powerful voice and just the right mix of toughness and vulnerability. As her sex-worker bestie, Crouch takes yet another stereotype of the gum-snapping tough chick and breathes new life in it with an enormous presence onstage and a voice to match.

Civic Center Music Hall - Oklahoma City, OK

Brandy McDonnell, The Oklahoman: Although it makes a few canny changes, the musical keeps most of the "big, huge" moments from the movie: the Rodeo Drive shopping spree gone wrong, the trip to the polo club, the outing to the opera. (Despite some narrative similarities, it's a bold move excerpting Verdi's "La traviata" right in the middle of your musical, especially with a performer as good as new addition Jade Amber as Violetta. But like so much else involved with this title, they only just manage to make it work.)

Tulsa Performing Arts Center - Tulsa, OK

James D. Watts, Jr., Tulsa World: The score by pop star Bryan Adams and Jim Vallance is a collection of pop pastiches - everything from 1960s Brill Building pop to '90s boy-band harmonic convergences to guitar-heavy rock. They may not be memorable, but they are not objectionable. And director and choreographer Jerry Mitchell stages most numbers as if they were live-action music videos. (The Roy Orbison hit that gave the show its name isn't performed until the encore.)

Walton Arts Center [Baum Walker Hall] - Fayetteville, AR

Kevin Kinder, Fayetteville Flyer: Each of the roles presents their own challenges. There are expectations for the characters based on what we know from the big screen version, and the dialogue is often lifted from the movie. Some of it translates flawlessly to the stage. A familiar scene where the hotel manager (played locally by Kyle Taylor Parker) works to teach Vivian some manners before a dinner meeting is transposed into a ballroom dancing scene that feels like the kind of all-encompassing dance number that every good musical should have. The costuming is spot-on too, from the throwback '80s denim to Vivian's thigh-high black books and red blazer combo.

Tennessee Performing Arts Center - Nashville, TN

Jeffrey Ellis, BroadwayWorld: The fact is, if you love the movie, the musical is kind of a rip-off, with large chunks of dialogue, memorable comic gags, even iconic costumes rejiggered for a show that sounds derivative and rather ho-hum despite its spicy subject matter. (I confess that I threw up in the back of my mouth a little as I wrote that sentence, but I digress...) There are also some terrific performances by some very talented people, some eye-popping costumes (Gregg Barnes' work is superb) and evocative scenic design by David Rockwell, as well as some swell choreography (thanks to the supremely gifted director and choreographer Jerry Mitchell) to a mostly unmemorable score.

Orpheum Theatre - Memphis, TN

AniKatrina Fageol, BroadwayWorld: If you are familiar with the beloved 1990 film Pretty Woman, you are familiar with this line. The opening number of the musical "Welcome to Hollywood" captivates the audience with a catchy line and an exhilirating dance number. Fans of the film won't be disappointed, holding their breath for iconic lines and even costumes from the film. However, the late great Stephen Sondheim once spoke about the concept of "why musicals", saying they are "perfectly OK, but why write them? They're not necessary.

Overture Center - Madison, WI

Lindsay Christians, The Cap Times: With a repetitive, schlocky score and a script that did not age well, the musical of "Pretty Woman" limps through nearly two and a half hours to a conclusion no one is waiting for. It feels like a production led by business, not art. Which is ironic, given the whole "love before money" message.

Proctor's Theatre - Schenectady, NY

Steve Barnes, Times Union: To be clear, the production, directed and choreographed from the inception by multi-Tony Award winner Jerry Mitchell ("La Cage aux Folles," "Kinky Boots"), is visually resplendent, outstandingly danced and sung with shiver-inducing gorgeousness. And it's got a major star in Adam Pascal, of "Rent" fame, whose rock 'n' roll voice is arresting in its power and expressivity.

Altria Theater - Richmond, VA

Tony Farrell, Richmond Times-Dispatch: Songs that offer lines and wordplay not especially inventive, sets that don't try particularly hard, and lighting that is about as subtle as a solar flare also don't help make "Pretty Woman" any more engrossing, even as Edward (Adam Pascal) and Vivian (Jessie Davidson) belt out song after song with gusto as the show tries to add context and dimension to a film story marked for the ages by Gere's tight-lipped remoteness and Roberts' unassailable charm.

The Kentucky Center for the Performing Arts - Louisville, KY

Taylor Clemons, BroadwayWorld: The cast is led by relative newcomer Jessie Davidson as Vivian. Vocally she's stunning, she performs pop ballad after pop ballad with great skill. She's very endearing in the role, but could stand to have a little more fun with the comedic and outlandish moments Opposite Davidson is theatre vet Adam Pascal as our leading man Edward Lewis. Edward isn't my favorite character, and this adaptation of the story paints him in ways that lack dimension, but in Pascal's case, a good performer is able to find the good in subpar material. He and Davidson had a great rapport and chemistry, and Pascal's voice ages like a fine wine, his soulful rock signature style is on full display when he gets his moments to shine.

Kirby Adams, Courier Journal: The effervescent Jessie Davidson, as Vivian, has a huge pop voice, and Adam Pascal, as Edward, has the rock tenor voice that made him famous 26 years ago as Roger in the original cast of "Rent" and in the role of Radames in Broadway's "Aida."

Kansas City Music Hall - Kansas City, MO

Alan Portner, BroadwayWorld: This incarnation faithfully follows the plotline of the 1990 romantic comedy starring Richard Gere and Julia Roberts. It surprises in that its outrageous premise works after adding all the Broadway razzmatazz. "Pretty Woman The Musical" is a theatrical anachronism in many ways. It works particularly well as a fun evening measured against the political and social turmoil that swirls the country more than thirty years following the film version.

Hobby Center for the Performing Arts - Houston, TX

Chris Vognar, Preview: The biggest problem, not just with this production but the musical, is that the songs aren't terribly inspired. Written by '80s power ballad belter Bryan Adams and Jim Vallance, they too often feel flat and extraneous. This isn't always their fault. Ideally, a musical gives way from dialog to song when emotions overwhelm the characters to the extent that they must sing. Nobody seems very overwhelmed here; as a result, too many of the musical numbers feel like padding.

Jessica Goldman, Houston Press: Like most other blockbuster movie-to-musical adaptations before it, Pretty Woman is full of mostly forgettable/superfluous songs (score by Bryan Adams and Jim Vallance). Despite that, it does manage to be quite a fun show.

Majestic Theatre - San Antonio, TX

Deborah Martin, San Antonio Express News:

Bass Concert Hall - Austin, TX

Dani Dudek, Austin.com: As Kit De Luca , Jessica Crouch performs the most powerhouse vocals in the show. She is outstanding and a joy to watch on stage. The role of the bellhop isn't a lead, but that doesn't stop Michael Dalke from making this character one of our faves. I'd tell you to keep your eye on him when he's in scenes, but honestly, I don't need to tell you that.

Bob Abelman, The Austin Chronicle: No, the making of this musical feels like a good, old fashioned cash grab; an opportunity to capitalize on the sentimentality of the same people who can't hear Orbison's song without seeing Julia Roberts and Richard Gere and who helped turn Pretty Woman into the fourth highest-grossing film in the United States in 1990. Evidence to this effect can be found in the libretto (written by the film's director, Garry Marshall, and its writer, J.F. Lawton). It sticks so closely to the screenplay - we're talking witty line by witty line, iconic moment by iconic moment - that the audience knows what will happen in the play before it happens and can recite the dialogue verbatim as it's happening. The music and lyrics wedged between plot points (written by Bryan Adams and Jim Vallance) are so bland and cliché that they offer nothing new or unexpected and tend to slow the storytelling more than enhance or advance it. In short, the musical lacks the spontaneity of a better and more original work.

Times Union Performing Arts Center - Jacksonville, FL

Jordan Higginbotham, BroadwayWorld: Now, whether audiences went crazy for Adam Pascal because of Rent fame or because they knew he would be playing the famed Richard Gere character, audiences were ecstatic the moment Pascal walked on stage! Pascal's character truly makes Vivian Ward (Jessie Davidson) feel truly beautiful and worthy of respect and love. His admiration is best observed in "Something About Her", "You're Beautiful", and "You and I."

Barbara B. Mann Performing Arts Center - Fort Myers, FL

Dave Elias, NBC 2: While the musical didn't knock me out of my seat, it quickly created an appeal filled with good energy, catchy tunes, and that 80s nostalgia. Taking an iconic movie and turning it into a stage performance is always risky business, but it's played smart along the lines of the movie, even recreating some of the stunning memorable outfits right down to the red ballroom gown.

Dr. Phillips Center for the Performing Arts - Orlando, FL

Cristine Struble, Cultress: Although the two main characters receive great fanfare, it is Travis Ward-Osborne as Happy Man/Bernie who often steals the show. From the flamboyant dance numbers to reminding everyone that happiness and pursuing a dream is the best part of life, this performance lights up the stage. Not only does it provide a connection between the characters on the stage, but he offers sentiments that resonate after the last note is played. In some ways, it is almost like a modern adaptation of Jimmy Cricket.

Jackie Roseboom, Attractions: All in all, it's a sexy, fun, and feel-good musical about two damaged people finding and making each other better humans. Oh, don't worry, the whole ensemble joins in at the end for a sing-a-long of Roy Orbison's "Oh, Pretty Woman". PS. My 23-year-old son has seen the original movie, but isn't into romantic movies like I am. He thought the musical was just OK.

Kravis Center for the Performing Arts - West Palm Beach, FL

Mary Damiano, Palm Beach Daily News: This is a show tailor-made for fans of the beloved movie, and that's a good thing. The musical retains the frothy, fairy-tale charm of the film while adding a fun and often heartfelt score by Bryan Adams and Jim Vallance, and exuberant and sexy choreography by Jerry Mitchell, who also directs.

San Jose Center for the Performing Arts - San Jose, CA

The Mercury News

Queen Elizabeth Theatre - Vancouver, BC, Canada

Alyson Eng, BroadwayWorld: Audiences had the pleasure of seeing Broadway legend, Adam Pascal, play the role of Edward in the show. Previously starring in many roles on Broadway including originating the role of Roger Davis in the musical Rent, seeing him live was a real treat. Pascal's unique voice lent itself well to the musical style of the show. It was evident that the music had a "rock" tone to it being a product of the Adams and Vallance writing team, everything fell into place for him in this aspect. Alongside Pascal was newcomer Jessie Davidson playing the role of Vivian Ward. She had great energy from the start and her chemistry with both Pascal and Jessica Crouch (Kit De Luca) was refreshing. Her youthful energy was definitely a contrast to Pascal's character; however, that did not compromise the chemistry between the two. Their relationship in the show was playful yet serious when it had to be. It was great to see Davidson exude such confidence as Vivian and I hope to see her again in future shows.

Vince Kanasoot, Stir: As Vivian, Davidson has a warm, engaging, and highly likable energy that drives the show, not to mention a luminous smile and lungs of steel. Two of her vocal highlights are "Anywhere but Here" and "I Can't Go Back", where she uses her vocal and storytelling talent to really make you root for her character. She also moves wonderfully, whether she's casually grooving in a bathrobe in Edward's penthouse suite, or swept up in partnering in "Don't Forget to Dance". Adam Pascal is appropriately reserved from the start as Edward and is an amiable counterpart to Davidson as his character warms. Pascal still has those magic vocal chords that can be heard on the Broadway recording of Rent, and when he belts out the reprise of "Freedom" in the second act, his passionate, powerful vocals create chills.

Northern Alberta Jubilee Auditorium - Edmonton

Sarah Dussome, BroadwayWorld: Despite its flaws, Pretty Woman: The Musical is still an entertaining night out. Watching Vivian appear in her iconic red dress and watching her unlikely romance with Edward unfold will delight fans of Gary Marshall's film and newcomers to the story alike.

Orpheum Theatre - San Francisco, CA

Lily Janiak, Datebook: The best screen-to-stage adaptations involve the narrator (Travis Ward-Osborne), who after a painful opening number of throat clearing becomes the maitre d' at the Beverly Wilshire. He has a bevy of bellhops and footmen who are always ready to burst into ballroom dance, creating a hotel populated by fairy godfathers and fairy minions who maybe really could make dreams come true. Wishy-washy music, though, by Bryan Adams and Jim Vallance, suffers from that '90s slow-rock phenomenon where the space between each drumbeat stretches outward into infinity.

SAFE Credit Union Performing Arts Center - Sacramento , CA

Courtney Symes, BroadwayWorld: Playing the role of Vivian is Jessie Davidson in her national tour debut. Davidson is sweet, naïve, and inherently smart, successfully foreshadowing her future in her poignant lament, "Anywhere but Here." Tony Award nominee Adam Pascal is a dapper Edward Lewis, confident in business yet curiously hesitant in his personal life. His voice complements Bryan Adams' musical style as he flawlessly reprises his role from Broadway. As Edward comes to realize that he can break away from the bonds of greed that hold him, he inspires us to embrace a better version of ourselves in his uplifting number, "Freedom." Vivian's trio of cheerleaders make up some of the best parts of the show. Laugh-out-loud funny one minute and sensitive ballroom dancers the next, audience-favorites bellhop Giulio (Trent Soyster) and concierge Mr. Thompson (Travis Ward-Osborne) give new meaning to the idea of full service with a smile. Her biggest supporter is, of course, her BFF Kit, who is brilliantly played by Sacramento native Jessica Crouch. Crouch ends her run in Pretty Woman: The Musical on the very same stage that she first graced at the age of 4 in Sacramento Ballet's The Nutcracker. Crouch's Kit is a powerhouse. From vocals to presence to personality, Kit is a character that we all root for and celebrate with. When she says, "Never Give Up on a Dream," we listen.

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