If ever a book was destined to become a stage musical surely it’s Lauren Weisberger’s 2003 novel The Devil Wears Prada. And now here it is, opening in the West End just in time for end-of-year parties and New Year celebrations. Adapted by Kate Wetherhead, this production doesn’t stray too far from the 2006 film that boosted the careers of actors Anne Hathaway and Emily Blunt, with Meryl Streep as boss-from-hell Miranda Priestly. Now it’s Vanessa Williams of Ugly Betty and Desperate Housewives fame who dons the red stilettos. And, yes, many of the classic lines are still here. That’s all.
This is an exuberant adaptation in the tradition of all great musicals. It’s big and bold and dazzling and expertly blends the sharp wit, high fashion and office dramas of the film with the energy and vibrancy of live musical theatre. And who better to write the score for a high-fashion musical than the one-and-only Sir Elton John? There’s a lot of disco and power pop infusing these songs, which come to life with punchy lyrics by Shaina Taub and Mark Sonnenblick. The music really makes this show, forming the perfect soundtrack to the froth and bubble on stage. At every moment, this is a high-fashion roller-coaster that takes the audience along on a breathless ride.
‘Dress Your Way Up’ is a show-stopping number, embodying the power and allure of the fashion industry. Other musical high points include ‘The House of Miranda’, ‘Who’s She?’, ‘Stay on Top’ and ‘Nothing’s Gonna Stop Me Now’, each with its catchy melody and pithy lyrics. Down in the pit, musical director Katharine Woolley and the excellent band ensure the music is vibrant and pacy. Woolley magically pops up through the stage trapdoor to take a well-deserved bow at the finish.
The storyline follows the now-familiar journey of Andrea (Andy) Sachs, a most unlikely appointee as junior assistant to the formidable Miranda, editor-in-chief of the iconic (and fictional) US fashion magazine Runway. And while a few new details have been created to give the musical some added personal pathos, it’s very much what you expect, remaining true to the essence of the film. Be sure to buy a program, smartly designed to look and feel like a glossy fashion magazine.
Georgie Buckland, starring in her West End debut, is strong in the key role of Andy, delivering a careful portrayal of the character and embracing her personal and professional growth. Williams is an absolute delight as Miranda the ice-queen, exuding the elegance and intimidating presence that we all remember from Streep’s superb film performance. Indeed, if there is a criticism to be made at all of this production, it’s that Williams makes Miranda too real and even a little too nice. We may want to hate her but we can’t when we understand her own journey.
Matt Henry doesn’t overplay the campness of Nigel, Runway’s flamboyant creative director, making him a more rounded character.
As in the film, the pivotal role here is Emily, Miranda’s nervous, neurotic and totally starving PA. Amy Di Bartolomeo is superb in this role, embodying the desperation of her tenuous position. And, yes, there’s a more than a touch of Patsy, Joanna Lumley’s Ab Fab alter ego, here with her nostalgic ‘Britishness’. It’s a lovely counterpoint to all the perfect Americans. Even before the show starts, Emily is strutting across the stage telling the audience to unwrap their sweeties now and put their cameras away.
The direction and choreography by Broadway and West End veteran Jerry Mitchell is sharp and sophisticated, capturing the spirit of publishing and high fashion. Each scene flows smoothly into the next maintaining the pace and energy. There are some quieter moments, but these are important to share the personal journeys of the characters. The big ensemble numbers are great fun with strong singing and tight dancing. The production more than fills the stage of the Dominion, one of the West End’s larger theatres.
The show is enhanced enormously by Tom Hatley’s bold scenic design and Bruno Poet’s sharp lighting. The set itself is a delight, shifting effortlessly between locations while maintaining a sense of power and privilege. The Manhattan skyline seamlessly becomes Paris and the illuminated Eiffel Tower. But, of course, this is Runway magazine, so it’s all about the clothes. Costume designer Gregg Barnes has adopted a dazzling disco aesthetic with very short skirts, lots of shine and very sleek silhouettes.
Read: Opera review: The Pirates of Penzance, London Coliseum
This new iteration of The Devil Wears Prada really embodies the magic of live musical theatre. You can love the show even if you’ve never seen the movie or read the book. It’s a feel-good party piece that unashamedly celebrates the stars of a difficult and demanding world. You may not want to live there, but it’s a wild ride to visit!
The Devil Wears Prada – the Musical
The Dominion Theatre
Based on the novel by Lauren Weisberger and the screenplay by Aline Brosh McKenna
Book: Kate Wetherhead
Music: Elton John
Musical director: Katharine Woolley
Lyrics: Shaina Taub and Mark Sonnenblick
Scenic Design: Tim Hatley
Direction and choreography: Jerry Mitchell
Costume design: Gregg Barnes
Lighting design: Bruno Poet
Sound design: Gareth Owen
Cast: Vanessa Williams, Georgie Buckland, Amy Di Bartolomeo, Matt Henry, James Darch, Rhys Whitfield, and ensemble.
The Devil Wears Prada – the Musical will be performed until October 2025.
