Review: THE DEVIL WEARS PRADA, Dominion Theatre

The Devil Wears Prada may be the most hyped musical of the year. With a stellar cast, incredible clothes and none other than Sir Elton John at the helm of the music. The publicity tells us to "gird our loins.", but after seeing this thin and rather flat show, the question is: for what?

Aspiring journalist Andy is living in New York and trying to get meaningful work. When an opportunity at legendary fashion magazine Runway accidentally comes her way, she is swept up in the backbiting glamour, risking losing her integrity along the way.

Meryl Streep’s viciously icy turn as boss Miranda Priestly won her a Golden Globe and an Oscar nomination. Vanessa Williams (making her West End debut) wisely creates some new angles to the role, namely more fire than ice. She previously received a Tony nomination for best actress in a musical, for Into the Woods in 2002, and is no stranger to the stage. First entering by rising up through the the stage trap door, Williams shows great stage presence, but delivers some of the standout lines in a more throwaway fashion, reducing both the amusement and the impact.

Georgie Buckland does her best with the role of Andy, but the character comes across as even more anodyne than in the film. It's a central character with no real presence. Buckland has little to work with, but does demonstrate excellent vocals in her West End debut and will surely shine with better material.

Matt Henry shows customary charisma as Nigel, given slightly more scope to the role than Stanley Tucci had in the film. His rendition of “Seen”, exploring how the Miranda and the magazine made him feel included and valued as a gay man, is a rare moment of emotional engagement.

The standout performance in the show goes to Amy Di Bartolomeo, channeling so much main character energy as assistant Emily that you could be forgiven for thinking the show was based around her. The uptight tension radiates from her, with every gesture carefully crafted and roof-raising vocals, especially in “Bon Voyage” where she reacts to the news that Andy will go to Paris in her place. She’s funny, engaging and a thrill to watch. 

What the show gets right are the clothes. Costume Designer Gregg Barnes has blown a considerable budget on pieces from Tom Ford, Dior and Prada, to name just a few. Particularly impressive is the opening scene to Paris fashion week, with exquisitely tailored outfits showcased in red, white and blue in front of a glittering Eiffel Tower (lovely scenery work by Tim Hatley).

There has obviously been incredible attention to detail, with even Andy’s “lumpy” cerulean sweater looking identical to the one in the film. The show-stopping red dress worn by Williams at the Runway ball is embroidered with 5,000 sequins. Reportedly, the dress designer’s team spent more than four weeks hand-sewing each bead, one by one. It’s a shame that in the same scene Nigel is given an oversized cape to put over his black trousers and jumper, when everyone else looks immaculate.

Musically is where the show really stumbles. A day after viewing, I was struggling to recall a single melody. The production is distinctly lacking in memorable tunes or truly witty lines. There are also too many tracks shoe-horned into an already busy production. 

"House of Miranda" explores the identity of Miranda and the magazine. The staging and choreography is slick, but the song itself lacks impact. Act 1 closer, "The Devil Wears Prada", performed at the ball, has an oddly country-inflected chorus and fails to sum up the glitz or excitement of the event.

"Dress Your Way Up," is a fun and playful number as Andy gets the makeover treatment in the iconic, sky-high Runway closet. It’s the closest any track gets to being a real earworm, but there's little that really excites or engages.

Ironically, one of the best songs is the one least important to the progress of the story. “Your Twenties”, performed in a Paris nightclub with sultry excellence by Maddy Ambus, is a warm and witty jazz number about the fleeting moments of being in your twenties.

Thankfully, although the show remains set in 2006, any reference to Andy’s weight has been cut (in the film she is repeatedly called fat for being a size 6-a UK 10), but it retains Emily’s diet of thin air before Paris. Yes, Emily is a ridiculous character, but the line about eating a cube of cheese when she is about to pass out is still played for laughs. The film was never seen as modern day Molière, but it was sharp and witty. The opportunity to turn this show into a modern piece of biting satire is sadly missed.

The show speaks to another time; when workplace bullying and toxic masculinity wasn't challenged. Today, Miranda would be receiving leadership coaching, Andy would be off on a mental health day and Emily would be on Ozempic. 

The Devil Wears Prada may look great, but misses the chance to say anything new or even interesting. 'Groundbreaking' it is not. A lot of style, but not much substance.

Read our interview with Amy Di Bartomoleo here.

The Devil Wears Prada is currently booking at the Dominion Theatre until 11 October 2025

Photo Credits: Matt Crockett