Pretty Woman: The Musical charms audiences with sparkle, humour and strong performances
Once you’ve seen Richard Gere and Julia Roberts in the iconic 1990 romcom, it’s hard not to wonder whether any stage production could possibly measure up. Who can forget the story of street-smart escort Viv’s meet-up with wealthy businessman Edward, who hires her to play his girlfriend on a business trip?
I’m happy to say I was pleasantly surprised.
Pretty Woman: The Musical had its world premiere in Chicago before transferring to Broadway in 2018.
Audiences were stunned. Based on the Touchstone Pictures motion picture written by J.F. Lawton, and the book written by Garry Marshall, who directed the movie, the stage adaptation features direction and choreography recreated by Rusty Mowery after double Tony Award winner Jerry Mitchell did the same for the Broadway hit.
Music and lyrics come from Bryan Adams and longtime collaborator Jim Vallance – a detail that immediately raised expectations when I opened the programme. According to londontheatre.co.uk, Vallance is best known for his work with Adams, but he's also written songs for artists such as Ozzy Osbourne and Tina Turner.
From the opening number, Welcome to Hollywood, those expectations were met.
Tutho Lesedi Gaasenwe, as Kit De Luca, delivered a powerhouse performance that quite literally made the hairs on my arms stand up. Her voice is commanding, confident, and full of character – setting the tone for a production filled with energy and humour.
Leah Mari as Vivian Ward brings warmth and charm to the lead role. Her confidence grows as the show unfolds, and her musical theatre credentials are evident.
Christopher Jaftha as Edward Lewis offers a composed, polished counterpart, handling both the acting and singing demands with ease. His stage presence anchors the production well as we follow Viv into the glamorous world of opera, designer clothes, and luxury hotels, watching a business deal yield one of the most memorable movie romances of the time.
However, two performers who consistently stole the show were Bo Molefe (Giulio, the porter) and Tiaan Rautenbach as Happy Man, who also transforms seamlessly into the roles of hotel manager Mr Thomson with nothing more than the removal of an overcoat.
Rautenbach’s versatility (also taking on the role of shop employee Hollister) and comic timing are outstanding, while Bo’s physicality, dance ability and character work bring charm and humour to every scene he appears in.
Their antics – particularly in the Beverly Wilshire Hotel scenes – added some of the production’s most memorable moments. The breakfast delivery, the quiet discretion of the hotel staff, and even small comedic touches such as a wig doubling as a duster were executed with precision and flair.
The production itself is slick and well-paced, with excellent scene transitions, clever set design and strong ensemble choreography.
Associate producer Darren Greeff keeps the action moving fluidly, while music director Daniel Butcher-Geddes deserves special mention for a band that sounded outstanding throughout – although it was disappointing that the musicians were not revealed for a bow at the end.
Behind the scenes, company manager Peter Taylor and production stage manager Merle Gideon bring extensive theatre experience to the production, and it shows. The show runs smoothly, with polished technical execution throughout.
One unexpected highlight of the evening was the audience itself. No formal dress code was announced, but Cape Town embraced the spirit of Hollywood glamour. Sequins, glitter, red dresses, and flamboyant outfits created a lively pre-show atmosphere.
As one audience member remarked, the people-watching was almost as entertaining as the show itself – a uniquely Cape Town moment, where glamour meets relaxed individuality.
The Cape Town audience – typically appreciative – responded enthusiastically, rising quickly to their feet for the big finish. It’s always a reliable indicator of a show’s success, and this audience clearly loved what they saw.
While comparisons to the film are inevitable, Pretty Woman: The Musical succeeds on its own terms. It’s entertaining, funny, polished, and filled with strong performances – particularly from its standout supporting cast.
And yes – happily – it measures up.
It’s on at Artscape Opera House until 19 April 2026. The musical opens at Teatro, Montecasino on 24 April 2026. The running time is around 2h30, including interval. The show carries a PG-12 rating. It’s worth buying a programme too to discover more about this talented cast and crew. Book through Ticketmaster.
About Debbie Hathway
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