The devil wears Prada

(Critique en français : Cliquez ici)

Music: Elton JOHN

Lyrics: Mark SONNENBLICK andShaina TAUB

Book: Kate WETHERHEAD

Director and Choreographer: Jerry MITCHELL

Scenic design: Tim HATLEY

Costume design: Gregg BARNES

Lighting design: Bruno POET

Sound design: Gareth OWEN

Hair, wigs and makeup design: Campbell Young Associates

Associate Director: Dominic SHAW

Associate choreographer: Darren CARNALL

Associate set designer: Ross EDWARDS

Associate costume designer: Kamil BARTNICKI

Associate Lighting Designer: Tamykha PATTERSON

Associate sound designer: Andy GREEN

Costume supervisor: Karen SHORT

Props supervisors: Propworks

Orchestral management: Andy BARNWELL and Rich WEEDEN
for BW Musicians LTD.

Musical director: Katharine WOOLLEY

Associate music supervisor: Ehsaan SHIVARANI

Music supervisor, orchestrator and arranger: Tom DEERING

Casting: Jill GREEN CDG

Starring :
Maddy AMBUS, Gabby ANTROBUS, Selena BARRON, Pamela BLAIR, Robertina BONANO, Georgie BUCKLAND, Josh DAMER-JENNINGS, James DARCH, Lloyd DAVIES, Amy DI BARTOLOMEO, Elishia EDWARDS, Akeem ELLIS-HYMAN, Elizabeth FULLALOVE, Jinny GOULD, Matt HENRY, Natasha HEYWARD, Samuel HOW, Luke JACKSON, Debbie KURUP, Ethan LE PHONG, Liam MARCELLINO, Ciro Lourencio MEULENS, Theo PAPONI, Christopher PARKINSON, Eleanor PEACH, Jon REYNOLDS, Harriet SAMUEL-GRAY, Olivia SAUNDERS, Joshua STEEL, Kayleigh THADANI, Ella VALENTINE, Rhys WHITFIELD, Vanessa WILLIAMS, Tara YASMIN

at
Dominion Theatre until 18 october 2025

It’s undoubtedly the highlight of the West End musical season, with an impressive star-studded line-up that even included fashion papess Anna WINTOUR at the charity gala evening to launch the new show. And that’s all it took for the Dominion Theatre to be decked out in its prettiest high heels, as evidenced by its façade. The theatre bent over backwards to the ‘Gird your loins’ injunction. If hell is on earth, you’ll be glad you walked through the doors.

First, let’s talk about the star of the show, the devil, whose forked tail is worn marvellously by Vanessa WILLIAMS. Every word she utters, every posture she adopts has a contempt and a distance that blend superbly with what we expect from the character. The cult lines of her previous interpreter, Meryl STREEP, are retained. The famous, imperturbable ‘that’s all’, of course. But also the memorable scene of her disarmingly eloquent monologue about the cerulean blue. Look no further than Miranda Priestly, if anyone is truly ‘wicked’. On stage, Vanessa has an extraordinary head carriage, illustrating a quote from Coco Chanel: ‘A woman must be two things: classy and fabulous’.

While we can only bow to the world-renowned talent of Vanessa WILLIAMS, it would be a mistake not to mention the other roles that set the stage alight. Georgie BUCKLAND is particularly convincing as Andie. Her performance is so meticulous that her transformation is not just a matter of a few “pile of stuffs”, but a change in attitude and manner of speaking. She captivates as much as Miranda. She’s perfect in any of these duets. The same is true, if not more so, of Nigel, played by Matt HENRY. His presence is astounding in the sense that, living in Miranda’s shadow, he nonetheless shines with a provocative élan. He too is demonic in his own way, using sarcasm while remaining angelic. As for Rhys WHITFIELD, it’s hard not to fall under the spell of his velvety voice and his nonchalance, a world away from his girlfriend’s new environment. Finally, and this is one of the notable departures from the character in the novel and then the film, Amy DI BARTOLOMEO is sparkling. Dressed to the nines, she is often the exquisite touch of humour hidden behind her austerity that adds to this musical.

The show is highly theatrical in its construction and structure, in the manner of the recent Pretty Woman the musical. We witness verbal exchanges that require a great deal of mastery because they are not so simple. The weakest feelings are always the most complicated to act out. Everyone here manages it perfectly. There’s never an outburst. It’s always measured out appropriately, with the looks doing the rest.

You can’t talk about The Devil Wears Prada without mentioning the work on the colours of the costumes and the fabrics they’re made from. It’s neat. It’s chic. Thoughtful. Strict suits with outrageously broad shoulders, sumptuous evening gowns and couture handbags, every single suit and accessory is sublime. The dressing room in the Runway offices is one of the most seductive elements. Much more so than the sets of the flat, which struggle to find their place on the Dominion’s immense stage. What’s more, the show finds its limits in some over-hasty set changes. We would also have liked to see more materials from other sewing trades in the sets, such as drapes and curtains. That said, while some scenes would have benefited from more fluidity and texture, not all of them do. Everything that happens in Paris is well represented, and we don’t fall into the stereotype of an Emily in Paris version of Paris. The Parisian references are not clichéd. They’re present but subtle, like the semblance of cancan in one of the choreographies. The choreography is not just inspired by a catwalk. Coming back to the sets, the most incredible scene is undoubtedly the MET gala. Firstly, because the costumes are sinfully beautiful, right down to the devil’s horns. And secondly, because the lighting and choreography add to the almost decadent aesthetic that you can’t take your eyes off. You’re literally invited to bite into the apple.

As for the music, the Elton JOHN touch is clearly identifiable. The harmonies are very close to “Saturday”, and very exciting, but that’s not all. The score is clearly one of the highlights of the show, with its catchy pop style. It’s a pulse that lifts this straight and narrow world, where extravagance and daring are often welcome. What better composer could have represented all this? We love the song How to survive at Runway, which comes back several times to our delight.

The Devil wears Prada quickly sold out its first performances.  No doubt it will be holding the podium for a while. The show will put thousands of sequins in your eyes, as well as a tremendous kick… But a kick with Louboutin shoes.

For a phenomenally devilish evening, there’s only one option: The Devil wears Prada!

Synospis

GIRD YOUR LOINS! A new musical based on the blockbuster film and bestselling novel, The devil wears Prada features an original score by Elton JOHN, lyrics by Shaina TAUB & Mark SONNENBLICK, book by Kate WETHERHEAD and direction & choreography by 3-time Tony Award winner Jerry MITCHELL (Kinky Boots, Legally Blonde, Pretty Woman, Hairspray).

Tony Award nominee Vanessa WILLIAMS, best known for her celebrated TV roles in Ugly Betty and Desperate Housewives and as a multi-award winning singer, will play the iconic role of Miranda PRIESTLY, Editor-in-Chief of Runway Magazine! She’s joined alongside Georgie BUCKLAND, making her West End debut as Andy, Amy DI BARTOLOMEO (Six) as Emily and Matt HENRY (Olivier Award winner for Kinky Boots) as Runway’s Creative Fashion Director, Nigel.

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?

Hilariously fun and fabulously stylish, The devil wears Prada tells an inspiring story about discovering what kind of person you truly want to be.

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