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For film and musical theater fans alike, the adaptations of films into musicals tend to raise a few quizzical brows — particularly when it comes to well-loved classics. And for “Pretty Woman,” the iconic romantic comedy that has immortalized itself in the minds of its audience across generations, the bar is high.

With the original movie featuring 21-year-old Julia Roberts’s arresting performance as Hollywood sex worker Vivian Ward and her co-star Richard Gere’s role as steely businessman Edward Lewis, the musical — at first glance at least — replicates most things about the film. Many of the iconic scenes were intact and well-represented through catchy musical numbers, though it was certainly difficult to recreate exact moments from the film that proved so memorable to audiences almost three decades ago. For example, the scene in the grandiose opera house where Vivian is moved to tears by a performance of Verdi’s “La Traviata” had to be drastically pared down to a single opera box that swiveled around the stage. This made the iconic scene less impactful than in the original, which was replete with intimately framed close-ups of Vivian depicting her emotional catharsis at experiencing the opera for the first time.

Nevertheless, the set and stage design by tour scenic designer Christine Peters were effective in capturing the dizzying lights of Hollywood Boulevard, the affluent snobbery of Rodeo Drive, and the opulent haven of Richard’s penthouse hotel room. Visually, the musical adaptation was virtually faultless: From flashy neon cut-outs replicating the bustling streets of Los Angeles to easily movable set pieces such as hotel room furniture and fashion display stands, the set design contributed to the show’s atmosphere of dynamism and kept the show moving.

Many of the film’s main characters made it into the musical, including Vivian’s confidante and colleague Kit De Luca and Edward’s sleazy lawyer Philip Stuckey. Ellie Baker (Vivian) and Chase Wolfe (Edward) bring the unlikely yet compelling couple to life, beautifully rendering the characters’ tender moments of intimacy throughout the show. As a character, Kit was given noticeably more air time in this musical adaptation — her spunkiness and sass in contrast to Vivian’s ingénue personality — brilliantly conveyed with Channing Weir’s rockstar vocals.

An exciting liberty that the authors of the musical’s book — Garry Marshall and J.F. Lawton — took in their adaptation was the reinvention of the character of Barnard “Barney” Thompson, the kind-hearted hotel manager who helps Vivian find her footing amidst Edward’s high-flying friends and associates. Played by Adam Du Plessis, the role of Thompson was restyled as “Happy Man,” first appearing onstage in the opening number as a charismatic street rover before swiftly putting on his hotel manager hat. An almost God-like omnipotent figure, Du Plessis stole the show with his various cameos as a jazz lounge pianist, a Rodeo Drive shop manager, and at one point, even slinks down to the pit to lead the orchestra. This proves a wonderful twist on the original film, reinventing the role of Thompson into a pseudo-guardian angel who sees Vivian through the process of her falling in love with Edward.

That was not the only successful adaptation the musical made in bringing the story to life on stage. The comic role of Giulio, a bellboy, was added: Played by Connor Kabat, he serves as a sparkling addition to the cast, making the audience roar with laughter because of his physical comedy, including a rather unexpected tango duet with Du Plessis.

Kit is also given a much bigger role instead of being relegated to a foil to Vivian — notably, her original aspiration of wanting to go to beauty school to leave sex work behind is transformed into a desire to join the police force. This proves a small but significant change in her arc, empowering Kit and bringing the women of the story further into the 21st century.

While, for the most part, “Pretty Woman: The Musical” handled the task of adapting such a tender film well, it was not without its weaknesses. Certain numbers, especially Edward’s, often seemed abrupt or unnaturally dramatic, given his character’s comparative coolness.

Nevertheless, “Pretty Woman: The Musical” is a treat for the eyes and ears, drawing crowds of all generations, who were all standing up and grooving along by the end of the musical as Roy Orbinson’s immortal theme song played during bows.

“Pretty Woman: The Musical” ran at the Emerson Colonial Theatre from Feb. 27 to March 3.