Eric Anderson (XXI) - News Poster


Bww Exclusive: Celebrate Valentine's Day with Some of Broadway's Favorite Couples!

You've watched them fall in love on and off stage of some of Broadway's biggest shows, but now BroadwayWorld is letting you in on some of the sweetest moments between your favorite Broadway couples including Jenn Colella and Chilina Kennedy, Jessica Rush and Eric Anderson, Robyn Hurder and Clyde Alves, Laurel Harris and Rob Marnell, and Ginna Claire Mason and Eric Moffett.
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‘Pretty Woman’ Broadway Review: The Hooker Julia Roberts Made Famous Is Back, and She Can Belt

  • The Wrap
Prostitutes, once a staple of the Broadway musical, have been keeping a low profile in recent years. The old fantasy of sleeping with guys and making good money yielded long ago to real horror stories of exploitation, sexism, drug addiction and human trafficking. None of which has stopped Garry Marshall and J. F. Lawton from turning their hit 1990 movie “Pretty Woman” into a Broadway musical, which opened Thursday at the Nederlander Theatre.

Marshall directed the movie and Lawton wrote the screenplay, and they’re credited this time around as writers of the book, which means “Pretty Woman” the musical is a too-faithful adaptation of the original.

They have made one small but important update. The heroine’s seamy occupation is acknowledged at the get-go by turning her first song into a heartfelt lament, “Anywhere but Here,” effectively delivered in country style by a strong-voiced Samantha Barks.

Also Read: 'Gettin' the
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Broadway Review: ‘Pretty Woman: The Musical’

  • Variety
Broadway Review: ‘Pretty Woman: The Musical’
When the 1990 movie comedy “Pretty Woman” catapulted Julia Roberts to stardom, it was widely reported that Disney and late director Garry Marshall had tweaked J.F. Lawton’s downbeat prostitute/john tale “Three Thousand” into a sumptuous rom-com, to the profit of all concerned. Its newest incarnation sanitizes the tale completely. 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.

The Lawton-Marshall libretto fundamentally sticks to the screenplay line by line, joke by joke. Multimillionaire corporate raider Edward Lewis (Karl) hops in a brand-new 1989 Lotus Esprit and, in an impulse maybe only Hugh Grant could explain, whisks streetwalker Vivian Ward (Barks) from Hollywood Blvd.
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‘Pretty Woman’ Musical Finds Its Man: Andy Karl Cast In Broadway Production

‘Pretty Woman’ Musical Finds Its Man: Andy Karl Cast In Broadway Production
Three-time Tony Award nominee Andy Karl, last seen on Broadway in Groundhog Day, has been cast as the male lead in the upcoming Pretty Woman: The Musical. He’ll play Edward Lewis (Richard Gere in the 1990 movie) opposite Samantha Barks’ Vivian (the role that made a superstar of Julia Roberts).

Karl, who won an Olivier Award for the London production of Groundhog Day and also starred in Broadway’s Saturday Night Fever, replaces Steve Kazee, who left the Pretty Woman production for family reasons, according to producers.

The new musical, which begins performances July 20 at the Nederlander Theatre, also stars Karl’s real-life wife Orfeh, a Tony nominee for Legally Blonde. Karl had seen the show in pre-Broadway workshops and the Chicago run.

“I always figured I’d be playing the part of ‘audience member’ for Pretty Woman,” Karl said. “When Paula Wagner and my longtime friend, Jerry Mitchell, asked
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Pre-Broadway Review: ‘Pretty Woman: The Musical’

  • Variety
Pre-Broadway Review: ‘Pretty Woman: The Musical’
The moment Samantha Barks smiles and sings near the beginning of this musical adaptation of the film “Pretty Woman,” we know things are going to be Ok. The sense that this show — not exactly a match with the #MeToo era — has missed its cultural moment never completely disappears but it does dissipate, becoming at least semi-irrelevant when confronted with Barks’ big personality and even bigger voice. She proves highly capable of sweeping us up, if not completely away, into this faithfully scripted (by the movie’s late director Garry Marshall and original screenwriter J.F. Lawton), blandly scored (by Bryan Adams and Jim Vallance), capably but not imaginatively directed (by Jerry Mitchell) version of the 1990 mega hit that launched Julia Roberts into stratospheric superstardom.

Barks (Eponine in the film version of “Les Miserables”) plays Vivian Ward, the Hollywood Boulevard prostitute who melts the frozen heart of corporate raider Edward Lewis, played in the movie,
See full article at Variety »

Painting By Dylan's Numbers

Bob Dylan: Another Self Portrait (1969-1971) The Bootleg Series Vol. 10 (Columbia/Legacy)

If you are more than just a casual fan of Bob Dylan, you probably already know Greil Marcus’s famous opening line in his review of Dylan’s 1970 album Self Portrait in Rolling Stone. Just about any article I’ve read that has referenced the album at any length over the years has trotted out the quote -- as has everything I’ve read recently on Dylan’s latest installment (the tenth) in his ongoing Bootleg Series -- Another Self Portrait. I won’t repeat the quote here [You can Google it] but I will say that my initial reaction, while not as vitriolic as Marcus’s, was not entirely dissimilar.

At the time, I thought the album was a total (although not entirely unlistenable) train wreck -- a hodgepodge of folk, rock, country, blues, Tin Pan Alley, hokum, and even musical theater.
See full article at CultureCatch »

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