Review: PRETTY WOMAN: THE MUSICAL at Arizona Broadway Theatre

Stephen Casey, the director and choreographer of Arizona Broadway Theatre’s production of PRETTY WOMAN: THE MUSICAL, understands something essential about adapting a modern fairy tale, especially one rooted in a Rodeo Drive fantasy, for the stage: unless the performers anchor the story in authenticity, the flair of the music and dancing can vanish like a pumpkin carriage after midnight, leaving little substance beneath the sparkle.

In this modern Cinderella story, it’s Vivian Ward, portrayed by Sophie Rapiejko, who reminds us that a dream is a wish that your heart can make come true. Rapiejko develops the role with nuance. Her early scenes present a sharp-witted, streetwise, sassy, and self-protective woman who has learned to survive long before she ever imagined a white knight or a corporate prince might appear. As the story unfolds, Rapiejko sheds that armor and, little by little, reveals Vivian’s vulnerability beneath the bravado. It’s a fine turn of acting, giving her character’s arc emotional heft rather than reducing it to a wardrobe upgrade. Vocally, she shines, belting out the show’s pop-rock score with energy and finesse.

Jamie Parnell’s Edward Lewis enters from the opposite end of the fairy tale. Initially, he is the picture of control, a man whose world is defined by precision and power. As a corporate raider accustomed to buying companies only to dismantle them, he’s preparing a takeover of a family-run shipbuilder, a move Vivian questions as cruel. Parnell leans into this rigidity, which makes Edward’s gradual thaw all the more compelling. As Vivian unsettles his carefully ordered life, Edward discovers that creating and connecting can be more rewarding than hostile takeovers and vulture capitalism.

Together, Rapiejko and Parnell make the fairy tale believable. Their chemistry evolves from playful sparring into something genuinely tender, giving the story the romantic warmth that resonates with the audience.

The supporting cast adds verve and depth to the production. Of special note is Livvie Hirschfield, who is a star in her own right. She commands the stage as Vivian’s friend and confidante, Kit De Luca, combining vocal firepower with swagger. Dillon Giles portrays Philip Stuckey, Edward’s unscrupulous and predatory attorney whose actions ultimately earn him Edward’s emphatic disdain and dismissal. Comic relief comes courtesy of Logan Farley as Giulio the bellhop. Octavian Lewis plays the dual roles of Happy Man and Mr. Thompson with the panache of a theatrical ringmaster, guiding the audience through this world that is part dream, part spectacle. The ensemble maintains the production’s kinetic energy, with performers like Adriana Michelle Sheer bringing precision and flair to the choreography.

The production’s polish reflects a well-coordinated creative team. Scenic designer Clifton Chadick provides a seamless framework for the story’s scene changes and high-life glamour, complemented by Cameron Filepas’s atmospheric lighting. Lorraine Barker’s costumes capture the class distinctions central to the story, from street-smart casuals to opera-night elegance. The orchestra, directed by Mark4man, provides a rich musical background for Bryan Adams and Jim Vallance’s pop-driven score.

This production ultimately succeeds because it never loses sight of the human story at its core. Kudos to casting and artistic producer Cassandra Norville Klaphake, whose instincts and discerning eye continue to populate the Arizona Broadway Theatre stage with top-flight artists.

And, for those wondering if Roy Orbison’s classic makes an appearance, rest assured: the ensemble delivers a curtain call that raises the roof and leaves the audience cheering for more.

PRETTY WOMAN runs through April 19th at:

Arizona Broadway Theatre -- https://www.azbroadway.org/ -- 7701 W. Paradise Lane, Peoria, AZ -- 623-776-8400