Many movie-to-musical translations adhere closely to the original book: “Pretty Woman,” the last Broadway musical to try out in Chicago, directly employed J.F. Lawton, the original screenwriter, and it retained the 1990s feel of the source film. There are good reasons for those choices: Some of them involve prior contractual deals and obligations to specific individuals, but savvy Broadway creatives well know that one of the reasons for the abundance of such projects is both the power of pre-awareness and the pull of nostalgia. As the current box office receipts for “Pretty Woman” on Broadway attest, audiences go in part to such musicals to re-live their experience at the source film (and maybe convince themselves that they remain young). This applies to jukebox shows too; For example, it explains why Bob Gaudio famously insisted that all of the musical arrangements in “Jersey Boys” be close replicas of the original Four Seasons recordings. Such talismans often are compromised at an artist’s fiscal peril: Arty New York critics might crave and reward the challenging and the unexpected, but they don’t pay for their tickets.