The Devil Wears Prada by Elton John, Shaina Taub, Mark Sonnenblick & Kate Wetherhead, Dominion Theatre, London, 4 December 2024, Review: 4☆☆☆☆. Cormac Richards.

“Classy, brash and irresistible.”

Photo Credit: Matt Crockett.

‘The Devil Wears Prada’ by Elton John, Shaina Taub, Mark Sonnenblick & Kate Wetherhead, Dominion Theatre, London, 4 December 2024,

Review: 4☆☆☆☆. Cormac Richards.

“Classy, brash and irresistible.”

NOTE: The Editor has asked me to include this review to add a different perspective from that offered by William Russell. Originally invited to see this production when it was being performed in Plymouth (Theatre Royal Plymouth being one of the producers), the decision was made to ask reviewers not to actually review the production as it was still being developed. An invitation to a press night at the Dominion Theatre followed. Here is the review;

The 2006 film ‘The Devil Wears Prada’ was a huge hit, almost recouping its $35m budget in the opening weekend in the US and Canada. It has an enormous following. The stage musical first opened in 2022 when it was panned by the critics and taken to task on almost every aspect of the production. A re-working of the show was undertaken by writers Elton John, Shaina Taub, Mark Sonnenblick and Kate Wetherhead, The new version has reached London after a long series of previews here and at the Theatre Royal Plymouth.

Set in the world of a high-end fashion magazine overseen by the icy, no-nonsense Miranda Priestley, the story follows the fortunes of gawky, fashionless newby assistant Andy as she negotiates the fierce, ever-demanding boss and her acolytes. From the off the audience is left in no doubt about the world they are entering; the lights, the glamour, the looks, the sashaying – all are there in bucketloads; high impact theatre which is stylish, effortlessly entertaining and doesn’t take itself too seriously. This is a show with a neat little storyline which is presented with quality production values and satisfying performances.

The narrative of the film is well preserved and punctuated by a score from Elton John which is lively, poignant and dramatic – like so much of his oeuvre – and though maybe not immediate hits individually, the sum of the parts makes for a pleasing set of songs which are given the full treatment by a spot-on band – under the direction of Katharine Woolley – and singing of the highest calibre. There are a few, almost comforting, moments when you just know you are listening to Elton’s unmistakable sounds. Designed with fluidity in mind, Tim Hatley has avoided the unfussy and stripped back detritus with the focus on the performers and the costumes – except for a couple of set pieces which are cracking. The sumptuous costumes of Gregg Barnes give the audience a never-ending catwalk to behold as the cast parade from scene to scene – they are an utter feast for the eyes – some of the very best I have seen – and there are alot of them! Likewise the lighting is hugely impressive – it is almost another character in the show, such is the care with the design and the impact of its use – Bruno Poet has played a blinder. Occasionally the sound balance makes the lyrics inaudible; they need to be heard, they are good and tell part of the story.

As the fearsome Priestley, Vanessa Williams makes the kind of entrance which performers die for – yes, it’s a tad cheesey and a little pantomime, but it is both dramatic and hugely amusing at the same time – her final exit similarly. She creates an aura over the show and delivers the side-swipes and put downs with considerable relish – moving with authority and attitude, this is a wonderfully full performance. As the ingenue Andy, Georgie Buckland takes hold of the role and makes every ounce out of it; the whole story has something of a Pygmalion/My Fair Lady aspect to it and as Andy transforms, so Buckland physically alters, only to revert a little at the end of the piece, She gains the affection of the audience as she outsmarts others and as she realises the fashion world is not worth the sacrifices of her personal life. Amy Di Bartolomeo is hilarious as Emily, the overwrought, fiercely loyal Assistant Number One, Emily, who becomes eclipsed in her role. With perfect comedy-timing and a belter of a voice this is a turn of quality – the dance sequence with the Hot Nurse and the male nurses is an utter joy. Impressive also is Matt Henry, blessed with charisma, voice and presence, he steers clear of cartoonish campery and ensures Nigel is humane, as well as waspish and witty, which makes the conclusion of his story all the more poignant. Mention must also be made of Rhys Whitfield  who also adds depth to the show as Nate, the boyfriend Andy rejects in her pursuit of pleasing Priestley; another hugely talented singer. All round the ensemble dance, sing and strut their stuff with vigour and pizazz to the great joy of the audience. Jerry Mitchell directs and choreographs with style and elegance; the show moves at a great pace with the transitions between scenes achieved seamlessly and without fuss.

Though the story maybe lacks the depth to bring out much emotion, there is enough to lift it above the average and with the production values involved it is elevated even higher. Classy, brash and irresistible, it is difficult to equate it with some of the vicious reviews the previous incarnation of the show received. The vast Dominion stage suits the show mightily and I would suggest it has a decent run ahead of it.

That’s All.

Cast

Miranda Priestley – Vanessa Williams

Andy Sachs – Georgie Buckland

Emily Charlton – Amy Di Bartolomeo

Nigel – Matt Henry

Christian Thompson – James Darch

Nate – Rhys Whitfield

Chanteuse – Maddy Ambus

Irv Ravitz – Josh Damer-Jennings

James Holt – Ethan Le Phong

Hot Nurse – Liam Marcellino

Jacqueline Follet – Kayleigh Thadani

Ensemble & Swings – Gabby Antrobus, Pamela Blair, Robertina Bonano, Lloyd Davis, Elishia Edwards, Akeem Ellis-Hyman, Elizabeth Fullalove, Jinny Gould, Natasha Heyward, Samuel How, Luke Jackson, Ciro Lourencio Meulens, Theo Papoui, Christopher Parkinson, Eleanor Peach, Jon Reynolds, Harriet Samuel-Gray, Olivia Saunders, Ella Valentine, Tara Yasmin

Creatives

Music – Elton John

Lyrics – Shaina Taub & Mark Sonnenblick

Book – Kate Wetherhead

Director & Choreographer – Jerry Mitchell

Scenic Design – Tim Hatley

Costume Design – Gregg Barnes

Lighting Design – Bruno Poet

Sound Design – Gareth Owen

Musical Director – Katharine Woolley