Jones Theatre Group with ATG Productions and the Adelaide Festival Centre. Her Majesty’s Theatre. 3 Jun 2026

 

Everyone knows the story. Everyone loves the frocks. Pretty Woman is a given, based on the movie with Julia Roberts and Richard Gere. With Bryan Adams and Jim Valance's music and lyrics and the book by Garry Marshall and J.F. Lawton, it has been touring the country to standing ovations.

It scored another one at its opening in Adelaide.

 

Jones Theatre Group has picked up the formula for a cheerful stage blockbuster: top quality everything.

 

One may quibble at the cliché of the lyrics or the predictability of the shtick, but then again, the show is playing to a fresh generation, and everyone deserves a good serve of classic music hall corn. “Buttons”, the porter dancing with the mop, the tearful heroine blowing her nose into the borrowed hankie…

This production is just one great big piece of slick.

 

The scene changes slot in seamlessly. The chorus lines are drilled to exquisite precision. The costumes, the costumes, the costumes—and the lightning costume changes. The whizzy lighting. The full-bodied band.

And, of course, the cast.

 

Ben Hall is matinee-idol triple-threat material as Edward Lewis, the ruthless capitalist who picks up the hooker on seamy old Hollywood Boulevard. He has a lovely balance of macho and tenderness in a role that encompasses even a few steamy love scenes onstage with the irrepressible Vivian Ward, played, sung, and danced most aptly by Samantha Jade—albeit in a brunette wig that is too big for her.

Songs are belted out. Energy levels and character deliveries are high from both leads.

And then there’s Tim Omaji.

 

This powerful Nigerian-born song-and-dance man is one of the most arresting performers to hit the Australian stage in a long time. He is the street’s Happy Man and the hotel’s suave concierge, Mr Thompson. Momentarily, he is even the orchestra conductor. In whatever capacity, he carries the scenes and grows more adorable by the minute.

 

Support roles are strongly filled, with the big voice of Michelle Brasier heartily simpatico as Vivian’s voluptuous street soulmate, and Douglas Hansell icily alienating as the rapacious business villain. The audience falls in love with Fabian Andres’ cheeky usher. The ensemble is huge and multitasking all over the place, with Rebecca Gulinello and Callum Warrender performing a stellar cameo operatic scene.

 

This is not great “theatre”. It is a great “show”. Under the Suzanne Jones production banner, it is a shamelessly extravagant crowd-pleaser. And, thus rewarded, the audience left the venue smiling and singing.

A very nice night’s entertainment.

 

Samela Harris

 

When: 3 to 30 Jun

Where: Her Majesty’s Theatre

Bookings: ticketek.com.au