‘Pretty Woman The Musical’ is pretty fantastic

Who would have thought a story chronicling a weeklong deal between a sassy lady of the night and a strait-laced corporate raider with manners would become a flat-out amazing show.

But it did, under the Gateway’s direction, choreography, sets, and music last Friday night, in Bellport, with “Pretty Woman The Musical.”

I loved this cast. I loved this show. The mostly improbable premise has fun-loving scenes, humor, and heart in this first regional and national tour production since Broadway.

The leads, Leah Platt as Vivian and Sean Seamus Thompson as Edward, play off their undeniable attraction perfectly. (Wow! Their singing. Where does that power come from?) Platt’s Vivian is bowled over by Edward’s wealth, but not so much as to stifle her free-spirited goofiness dusted with wisdom at times, while the handsome Thompson as Edward portrays him with an easy grace. Not smarmy, but a likeable workaholic billionaire. He wants Vivian to spend time at a penthouse in the Beverly Wiltshire Hotel for a week, with occasional dates while he tends to business.

The story debuted as a 1990 hit film. Sometimes a musical doesn’t hit the same home run as its movie, but the book, by Garry Marshall and J.F. Lawton, evolved into a witty and entertaining show.

There is so much talent here and so many ebullient scenes that come one after the other, beginning with Jalon Matthews as Happy Man, Mr. Thompson, Mr. Hollister and Senator Adams (mostly as Happy Man and Mr. Thompson, the hotel manager). Matthews is a wonder in song and dance as he maneuvers the musical with narration, first as Happy Man, setting the stage for the inaugural song, “Welcome to Hollywood,” among the downtown boulevard collection of working people of all sorts in midriff costumes, cowboy hats, jeans. He’ll pop in from time to time, nudging the story along that takes place in the ‘80s.

When Vivian needs a sophisticated dress, “Rodeo Drive” blasts out with a bluesy guitar and women strutting in couture sequins and bustiers, as they all dance with attitude against a colorful background.

“On A Night Like This” is pure Hollywood musical camp, as the dancing Mr. Thompson (Matthews) tries to teach Vivian the finer steps for her date with Edward. He leads off hotel staff in green jackets and caps with cream pants, then dances with Giulio (a hilarious Anthony DaSilva, in a number of scenes). The staff becomes one in a line, and lift Mr. Thompson. (Goodness! What can’t Matthews do?)

Watch Vivian break out into a shimmy on her date night after trying staid in “Don’t Forget to Dance”), then freewheels it with Mr. Morse (Ryan Hurley), the owner of the shipping company Edward wants to take over. (Vivian isn’t enamored of Edward’s intentions with Morse’s company and voices her opinion.)

Director Keith Andrews, a former dancer, choreographed the production with associate choreographer Kelly MacMillan. They honed the energetic, and at times beautiful, dancing, including a bit of sassy rap. When the cast works it, it’s amazing.

Fatima El-Bashir as Kit , Vivian’s best friend, hits gospel opening notes with “Luckiest Girl in the World,” rooting for her friend Vivian, and does it again at the end of “Rodeo Drive” with her powerful voice. She is riveting and funny portraying a world-weary worker who wants Vivian to get what she can. And also break out herself. (She always wanted to be a police officer.)

But it was the scene at the opera with Vivian in the iconic red dress at the theater box with Ryan Hurley double-dipping as the character Alfredo, who breaks into a full-blown “La Traviata” aria with Sarah Wang singing as the tragic Violetta, that brought audible gasps. It is a drop-dead stunner. Hurley is a graduate of The Juilliard School and has done MetLiveArts/Metropolitan Museum of Art.

Wang’s stage credits span opera and musical theatre, with standout roles in “Le Nozze di Figaro,” “La Traviata,” “Little Women,” “Così fan tutte,” and “Madama Butterfly.”

While Vivian was clearly moved, which touches Edward as he watches her and sings “You and I,” so was the audience. But that’s not all. The cast emerges in beautiful sequined masks, gowns, formal dress and waltz against a dreamy, shadowed background.

The sets moved quickly and seamlessly; the costumes elevate the show to Tony Award level.

The actual theater box that Vivian and Edward sit in is red with intricate scrolling and gilt. It eventually rotates, allowing the couple to exit down steps gracefully. 

The Beverly Wilshire penthouse has sumptuous drapes, a grand piano, lovely couch, a double balcony overlooking Hollywood Hills. Even the shopping scene where Vivian finally gets respect has sales associates in snazzy navy-and-white costumes with classy hats, going through racks of potential clothes.

There is a villain. Daniel Robert Sullivan plays Philip Stuckey, Edward’s lawyer, who wants the corporate takeover deal of Morse’s family shipping company to go through (he would make millions.) Sullivan excels as Stuckey, a ruthless blowhard who assaults Vivian. The audience reacted when that happened. (Don’t worry, Vivian gets him good.)

As for the famous Roy Orbison hit “Pretty Woman,” Lance Jewett as Six String tries to play it several times onstage, but is shooed away by Happy Man until the end, when the audience is encouraged to sing along.

The realization that love can happen and change can take place is the powerful message here. Is the story a fantasy? Maybe, but as Vivian discusses her life with Edward, and Kit relates hers to Happy Man, you understand what brought them to their careers. We won’t give away the ending, but the audience left buzzing about the show’s excellence. Start summer on a happy note. It’s playing to July 13. Go online to thegateway.org. Or call the box office at 631-286-1133.