Review: The Devil Wears Prada at the Dominion Theatre, London

The much-anticipated musical adaptation of The Devil Wears Prada has finally arrived at the Dominion Theatre in London, following a preview run in Plymouth. Based on Lauren Weisberger’s 2003 novel, which was famously turned into a film starring Meryl Streep and Anne Hathaway, this new stage production brings the high-fashion world of Runway Magazine to life with a blend of awe-inspiring spectacle, sharp wit, and occasionally uneven storytelling.

The musical, with a book by Kate Wetherhead and a score by Elton John (with lyrics by Shaina Taub and Mark Sonnenblick), pulls audiences into the cutthroat world of fashion publishing. The story may be familiar to many, and follows Andy Sachs, an aspiring journalist turned personal assistant to the iconic Miranda Priestly, the editor-in-chief of Runway. 

But this new musical adaptation manages to breathe new life into the familiar story, it’s still set in the early noughties but it feels like the character arcs are more modern, and it comes with an energetic score that can only be described as a combination of campy glam and high-octane pop.

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The Devil Wears Prada’s  greatest strength can be found in its visual design. The Dominion Theatre, one of London’s largest, comes alive with high fashion, with costumes that are as extravagant and stunning as you might expect from a show set in the world of haute couture. 

Set designer Tim Hatley creates a high-end world. In the second act, when the action moves to Paris, the set received gasps and applause from the audience.  Also receiving audience acclaim were Gregg Barnes’ visually arresting costumes that would not have looked out of place at any fashion show. 

The Devil Wears Prada’s choreography by Jerry Mitchell, who also directs, ensures that even the quieter moments are infused with movement, keeping the energy high.

While the spectacle impresses, the narrative loses pace in the second act. The book, though sharp in places, occasionally feels weighed down by its own ambitions. The relationship between Andy and Miranda, which is the heart of the story, lacks the emotional depth that the film brought to life.  There are moments when Miranda could have been meaner, and times when Andy could have been more conflicted by her own ambition. 

The performances are generally strong, with  Ugly Betty star Vanessa Williams bringing an appropriately icy grandeur to Miranda Priestly, though some moments of vulnerability are harder to discern. Georgie Buckland makes a stunning West End debut  as Andy and shines in her solo numbers. 

Amy Di Bartolomeo brings a delightful humour in the role of Emily, while Matt Henry  delivers powerhouse vocals, particularly in the second act number, ‘Seen’.  Andy’s boyfriend Nate is an underdeveloped character, but Rhys Whitfield makes the most of it with a charming performance. 

The Devil Wears Prada is a visually striking and musically catchy show that will appeal to fans of the original material and anyone in search of a glamorous, escapist night at the theatre.  It may lack emotional resonance, but its star-studded cast, a score that often soars, and the sheer beauty of it all, makes it a fun ride through the glitzy, high-stakes world of fashion.

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