The West End debut of The Devil Wears Prada is a dazzling production that effortlessly combines high fashion, striking performances, and Elton John's memorable score into a show that feels like a runway come to life. Directed by Jerry Mitchell, the musical is an ambitious adaptation of the 2006 film and Lauren Weisberger’s novel. While comparisons to its screen counterpart are inevitable, this stage version manages to carve out its own identity, thanks in no small part to its remarkable cast and crew.
At the forefront of the production’s visual appeal is Gregg Barnes, the costume designer behind Broadway hits like Mean Girls and Legally Blonde. Barnes’ work here is nothing short of breathtaking. The entire show feels like a Paris Fashion Week extravaganza, with meticulously timed costume changes that dazzle and awe. From Andy Sachs’ transformation into a high-fashion insider to the iconic ensembles sported by Miranda Priestly, Barnes has crafted a wardrobe that is as much a character as the performers themselves.
The first Paris scene is a true standout, blending seamless choreography, jaw-dropping costumes, and an electrifying musical number that had the audience buzzing. Beyond the technical precision and energy, the aesthetic beauty of this scene deserves special praise. The colour coordination of the costumes and lighting was a visual feast, with a stunning interplay of French flag hues—blue, white, and red—woven seamlessly into the wardrobe and the stage design. The lighting mirrored these shades, creating a cohesive and immersive experience that enhanced the vibrancy and elegance of the moment. Adding to the spectacle, the first view of a replica of a light-up Eiffel Tower was jaw-dropping, eliciting audible gasps from the audience. Its glittering brilliance perfectly encapsulated the romance and grandeur of Paris, setting the tone for an unforgettable segment of the show.
However, the lighting design, while often spectacular, occasionally veered into the overly harsh, with blinding moments that detracted from the otherwise polished aesthetic.
Making her West End debut as Andy, Georgie Buckland is a revelation. Her vocal performance carries an uncanny resemblance to Anne Hathaway, lending an air of familiarity to the character while infusing it with her own charm. Buckland’s stage presence and sincerity are magnetic, making her transformation from clumsy assistant to confident professional all the more compelling.
And then, there is Vanessa Williams as Miranda Priestly. Seeing Williams in this role is an experience in itself. Her portrayal diverges significantly from Meryl Streep’s icy and understated Miranda, leaning instead into a commanding, larger-than-life stage presence that is undeniably captivating. While this iteration of Miranda may lack some of the subtlety of Streep’s iconic performance, Williams brings her own gravitas and charisma to the role, commanding every scene she graces.
Matt Henry as Nigel is another highlight, with his dynamic energy and sharp comedic timing consistently stealing the spotlight. His interactions with Andy are some of the most heartfelt moments of the show. On the other hand, Amy di Bartolomeo’s talent as Emily felt underutilized, leaving the audience wishing for more of her sharp wit and impeccable delivery.
Musically, Elton John’s score does not disappoint. The songs are catchy and well-integrated, with a few standouts that are sure to linger in your mind long after the curtain falls. The opening number sets a strong tone, immediately hooking the audience and setting the stage for the whirlwind journey ahead.
Overall, The Devil Wears Prada is a triumph of spectacle and style. The production captures the spirit of the source material while adding its own unique flair. Whether you’re a fashion enthusiast or a fan of musical theater, this show is worth a visit to the West End.
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