You! Yes you, whatever-your-name-is, READER, I need… are you writing this down? I need one no-foam skimmed latte with an extra shot and three drip coffees with room for milk, piping hot and I mean hot! Right… now where was I…
Oh yes…The Devil Wears Prada: The Musical is a glitzy, fabulous, high-octane adaptation of the beloved 2006 film (and Lauren Weisberger’s bestselling novel), now showing at the Dominion Theatre in London. With music by Elton John, lyrics by Shaina Taub, and direction by multi-award-winning Jerry Mitchell (Kinky Boots, Legally Blonde), this is a show that I have been eager to see, since I first heard about it in late 2023.
From the first moment, when Amy Di Bartolomeo walks out looking stylish, intimidating, impeccable, and asks everyone to turn off their phones, while also inviting us to snap a quick photo of her, it was clear that this show was going to be a lot of fun and a feast for the eyes!
I’m sure you’ve seen the 2006 movie starring Meryl Streep and Anne Hathaway, but just in case… Fresh out of college and brimming with ambition, aspiring journalist Andrea ‘Andy’ Sachs (Georgie Buckland) lands what some might call a dream job – working for the legendary – and terrifying – editor-in-chief Miranda Priestly (Vanessa Williams – Ugly Betty, Desperate Housewives) at Runway magazine (basically Vogue). Fashion? Not Andy’s thing. But she’s determined to endure Miranda’s impossible demands and the ruthless critiques of all the beautiful people around her, all in the name of paying her dues.
The show opens on Andy in her apartment with her boyfriend Nate (Rhys Whitfield), and they seem to have a great relationship, he’s being super supportive as Andy is getting ready for a big interview! She then gets to the Runway offices and there are beautiful people rushing to and fro. It’s a cartoonish frenzy of staff dashing about like good little worker bees, preparing for the arrival of their boss, Miranda. Suddenly, she comes rising out of the stage, like Satan from the depths of hell.
Vanessa Williams absolutely slays as Miranda Priestly. She plays the character quite differently from the movie, with her character feeling much less mean than Meryl played her. Her Miranda is still a demanding nightmare of a boss, but she seems to have taken the edge off a little. This is likely a reflection of the times, and the removal of some of the nastier jibes at Andy from the movie, particularly about her weight. I first encountered Williams as Wilhelmina in Ugly Betty, where she was the Editor-in-Chief of Mode, a fashion magazine. I imagine the character was probably inspired somewhat by Miranda in the first place, as she was just as cutting and nasty at times. This could be another reason Williams decided to play her differently, so as not to play her as Wilhelmina.
Georgie Buckland is thoroughly likable as Andy Sachs, perfectly embodying the awkward yet ambitious journalist thrown into a world of high fashion she neither understands nor respects. Her journey from clumsy newcomer to a somewhat over-confident professional is portrayed with heart and flair. This was Georgie’s West End debut, and she certainly proves that she has a knockout voice and is here for the longrun.
Amy Di Bartolomeo as Emily (Miranda’s first Assistant) is an absolute standout. From her cutting wit to her exhausted exasperation, she delivers laugh-out-loud moments effortlessly. Her number Bon Voyage is both hilarious and a perfect showcase of her vocal talent. Matt Henry as Nigel brings a warmth and humanity to the production, his number Seen proving to be one of the show’s most moving moments, as he reflects on how the fashion industry allowed him to feel part of something and seen for the first time.
Rhys Whitfield, as Nate, sings beautifully, but his character struggles to resonate. This might be more about the writing than Whitfield’s performance. Nate’s heartfelt number The Old You is well-delivered, but I couldn’t help wishing we’d get back to Andy’s story already.
Let’s talk about the costumes – OMG THE COSTUMES – they should have an entire review to themselves! Gregg Barnes is a genius. Every single outfit on that stage deserves applause. From the chic, high-fashion office wear of the Runway staff to the jaw-dropping ball gowns at the show’s central Ball and the stunning dresses in the red, white, and blue arrival in Paris scene, the costumes are nothing short of sensational. In a show where the music doesn’t always steal the spotlight, the costumes do – they were almost a character all on their own!
The sets, designed by Tim Hatley, combined with Bruno Poet’s beautiful lighting design, are another visual treat. From Andy’s simple apartment to the chaos of the Runway offices and the glamorous red carpet scene, each location is vividly brought to life. The Paris arrival scene is particularly stunning, with the Eiffel Tower lit up in all its glory against a vibrant backdrop of blues, reds, and whites. The clever use of lighting, especially the flashes on the cameras held by dancers during the red carpet moment, adds an extra layer of glamour and intensity to the already dazzling production.
Elton John’s music, paired with lyrics by Shaina Taub, was a lot of fun, and I really enjoyed the numbers, but none of it was particularly groundbreaking or original. I am writing this the following day and I can honestly not recall the tune of any of them. I know I loved Seen and I was tapping my feet to Dress Your Way Up, and laughing my head off to Bon Voyage, but until the cast recording is released, I will have no idea how they actually sound. The choreography – by director Jerry Mitchell – is dynamic and fun, with a constant movement and flow through all the big musical numbers.
The Devil Wears Prada: The Musical is far from perfect, but it’s a glittering, high-energy spectacle that’s sure to delight fans of the movie and beautiful fashion alike. With stunning performances, and gorgeous visuals, it’s well worth a visit – even if you’re more likely to be gushing over gowns than humming the songs, on your way out the doors. In the iconic words of Miranda Priestly, “That’s All”.
Now booking until October 2025. Tickets at www.devilwearspradamusical.com
Words by Nick Barr
Photos by Matt Crockett
