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
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.
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
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,
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.
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