This musical adaptation retains the mid-2000s setting from the motion picture of the same name, which is either a missed opportunity to attempt to portray how fashion magazine editor Miranda Priestly (Vanessa Williams) would run her publication in the mid-2020s, or otherwise capitalises on the enduring popularity of the movie and takes theatre audiences back to a world that is well within living memory but at the same time doesn’t exist. In an interview with a national newspaper, Williams was of the belief that Priestly would be ‘cancelled’ in this day and age. I’m not so sure, at least in the sense that she would be no more or less likely to be cancelled than any other public figure. It is believed that Lauren Weisberger, who wrote the 2003 book (also of the same name) based the character of Miranda Priestly on Anna Wintour, who at the time of writing is still editor-in-chief of Vogue, a position held since 1988. And wouldn’t a fashion editor by definition keep up to date with what is going on in the world?
I have other questions, too, though most if not all of them are as a result of never having worked in the fashion trade. Why is Andy Sachs (Georgie Buckland) sent out to buy Priestly some coffee (amongst other things)? Why is there not a coffee machine in the office? Fashion choices are subjective, I suppose, and it’s difficult (at least for me) to vouch for the authenticity of the costumes used in the production. That said, the show seems to shoot itself in the foot somewhat: Priestly’s characteristic disdain of almost every piece of clothing put before her left your reviewer distinctly unimpressed with what she did allegedly approve. Andy might well have been taken under Nigel’s (Matt Henry) wing and given a makeover, which wowed the audience on the night I attended, though that was Nigel’s doing, not Priestly’s. Perhaps that is what the show was trying to tell me all along: Priestly ain’t all that, more noise than substance.
Either way, despite being other-worldly – in the sense that not many would work for a fashion publication, and even those that do (if the show’s narrative is to be believed) often don’t last very long – there’s much that is relatable in other workplaces where commitment to the organisation is prized above everything else, even one’s own health. Much to her boyfriend Nate’s (Rhys Whitfield) chagrin, Andy is scarcely seen anymore, even though they still live together, such are the round-the-clock demands of Priestly. You’d be forgiven for thinking Priestly was the editor of a daily newspaper rather than a monthly magazine.
Fans of the motion picture will find much to recognise in the stage show, as well as a fair amount that has been modified or otherwise omitted. Nothing wrong with that – after all, who wants to come away from the theatre thinking they could have done without the financial and geographical inconvenience and stayed home and watched the movie? Amy Di Bartolomeo’s Emily Charlton delights from before the start, thanks to an imaginative pre-show announcement about mobile phones and other pet hate disturbances that happen all too often during performances. She gets a big number, which is crowd-pleasing, though the show-stealing number for me was ‘Seen’, sung by Matt Henry’s Nigel, which packs in more backstory than most of the other musical numbers.
I mean, the whole thing held my attention, and the two and a half hour running time whizzed by. Jerry Mitchell’s signature ‘full out’ choreography is delightful, and the music has the kind of campy and upbeat drive one would expect from Sir Elton John. If anything, though, Williams’ Priestly could have been a little more scathing and ruthless. In the end, it’s a show I’d see again – there are some decent punchlines to chortle at and a stellar cast with plenty of talent to enjoy.
Review by Chris Omaweng
Fresh out of college, aspiring journalist Andy scores a job at the prestigious Runway magazine working for fashion’s most powerful and terrifying icon – editor-in-chief Miranda Priestly. Sacrificing her personal life to meet Miranda’s impossible demands, Andy finds herself seduced by the glamorous world she once despised. How far will she go to succeed… and will it be worth selling her soul to get what she’s always wanted?
CAST
Miranda Priestly – Vanessa Williams
Andy Sachs – Georgie Buckland
Emily Charlton – Amy Di Bartolomeo
Nigel – Matt Henry
Christian Thompson – James Darch
Nate – Rhys Whitfield
Standby Miranda – Debbie Kurup
Chanteuse – Maddy Ambus
Irv Ravitz – Josh Damer-Jennings
James Holt – Ethan Le Phong
Hot Nurse – Liam Marcellino
Jacqueline Follet – Kayleigh Thadani
Dance Captains – Gabby Antrobus, Jon Reynolds
Ensemble – Selena Barron, Robertina Bonano, Josh Damer-Jennings, Lloyd Davies, Elishai Edwards, Akeem Ellis-Hyman, Natasha Heyward, Samuel How, Luke Jackson, Ethan Le Phong, Ciro Lourencio Meulens, Liam Marcellino, Theo Papoui, Eleanor Peach, Harriet Samuel-Gray, Olivia Saunders, Kayleigh Thadani, Ella Valentine, Tara Yasmin
Swings – Gabby Antrobus, Pamela Blair, Elizabeth Fullalove, Jinny Gould, Christopher Parkinson, Jon Reynolds
CREATIVE
Music by Elton John
Lyrics by Shaina Taub and Mark Sonnenblick
Book by Kate Wetherhead
Director and Choreographer – Jerry Mitchell
Music Supervisor, Orchestrator and Arranger – Tom Deering
Scenic Design – Tim Hatley
Costume Design – Gregg Barnes
Lighting Design – Bruno Poet
Sound Design – Gareth Owen
Hair, Wigs and Makeup Design – Campbell Young Associates
THE DEVIL WEARS PRADA
Dominion Theatre
Currently booking until 31 May 2025
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