The following review was provided to the Clocktown Chronicle by Bill Starr, an avid volunteer and actor with Landmark Community Theatre. Tickets still available at the theatre’s website online.

As popular, oft-seen and quoted as the movie “Pretty Woman” remains, it might seem that a musical adaptation is hardly necessary. And while that makes for a good argument, in fact this re-working of the classic story with music actually works most of the time.

And that’s to the credit of an appealing new live production “Pretty Woman: The Musical” at Landmark Community Theatre (LCT) which spotlights an engaging and likable cast and a terrific group of musicians. The show opened Saturday night (April 18) and continues on weekends through May 3.

Everyone who remembers Julia Roberts and Richard Gere in that 1990 film should be delighted to discover there’s lots of playful chemistry between the ledes in this show. CJ Calzone (Vivian) and Gianni Perugini (Edward). Edward is, of course, the hard-edged businessman who hires hooker Vivian to be his escort for a week. It’s a very professional relationship for starters but quickly becomes a dialogue between the two that culminates in … well, love. In other words, it’s a Cinderella story. Hence the enduring appeal.

In the midst of this, there’s a lot of fun and enthusiasm and some pretty doggone good vocal work from the LCT cast, all under the skilled and knowing direction of Kate Kovacs with matching upbeat choreography by Matthew Guerrera.

Vivian and Edward have most of the solo pieces, and they are heartfelt as required and buoyant when called for. Both of these actors have good voices and they effectively convey their emotions to the audience through their singing. Hear especially the defiance in her powerful “I Can’t Go Back” as an outstanding example.

But they aren’t alone; there is some fine ensemble work from this cast. It’s hard not to be entertained by Benjamin Fleury in his two roles as the happy man and the hotel manager. His words (vocals, too), expressions and interactions are snappy and smart and attention-grabbing.

Tyler Bard’s role as Edward’s attorney is not an endearing one; if there’s a villain here, he’s it. But his posturing, his bluff behavior and his outright nastiness are sharply defined by Tyler. Thanks also go to Iona De Luca for her brash portrayal of Kit, Vivian’s hooker pal. And to Griffin O’Neill, the hotel’s wonderfully animated busboy. In the play’s brief operatic interlude, we also get to relish the big voices of Katie Kelly and Meric Martin.

The music in this adaptation is by Bryan Adams and Jim Vallance, and while some of it is affecting in various ways — thinking for instance of the ensemble “On a Night Like Tonight” and a couple of the solo pieces — much of it is stuck with a rather bland sameness. One selection can seem too closely linked to another. And another.

But the live music comes off dazzlingly played by a six-piece band directed by Fiona Bryson. They are very good musicians, and they perform with high spirits and nuance. They really deserve a lot of audience applause; hope ways can be found to salute them at the end of the show; that was missing at the dress rehearsal.

And there were a few logistical slip-ups at the dress rehearsal, but that happens. And that’s why there are rehearsals: time and space to get these things resolved. (Curious aside: why does Edward keep his hands in his pants pockets through most of the evening?)

Bottom line: this is a fun show of escapism, but not really one for youngsters (remember this theme is very adult in its structure). It’s a joy to become immersed in good, live community theater, and that exactly what Landmark is offering with this staging.