The Devil Wears Prada - West End - Review
- Thomas Levi
- 4 days ago
- 4 min read
★★★☆☆
Forget how many different designer brands are name-checked in The Devil Wears Prada; in some stretches, you begin to wonder how many times the name “Miranda” gets said in this musical. This adaptation of the cult 2006 film by Elton John (music), Kate Wetherhead (book), and Shaina Taub & Mark Sonnenblick (lyrics) is a huge production with a glossy aesthetic, but does it fashion something memorable from pop-culture nostalgia? Or does it leave us longing for something a bit sharper under the seams?
The Devil Wears Prada tells the familiar story of Andy Sachs, an aspiring journalist whose life is upended when she lands a job as Miranda Priestly's assistant, editor-in-chief of Runway magazine. Andy navigates an unforgiving world of fashion editors, impossible demands, and social after-hours, all while trying to hold on to her own identity and relationships. Along the way, she clashes and connects with Miranda’s original assistant Emily, learns the hard way about ambition and loyalty, and ultimately confronts what success really means. It’s a story that thrives on cultural critique, the price of ambition in a world obsessed with image, and the musical seeks to translate that into spectacle, song, and dance.
And there’s a lot to admire here. Director-choreographer Jerry Mitchell’s staging is undeniably flamboyant: the visuals are spectacular, with sparkling set pieces that take in not just New York and Paris fashion contexts but also transform the Dominion Theatre into a high-octane catwalk. Costume design, which will always be central in a show about fashion, is sensational; Gregg Barnes and the wardrobe team have delivered a veritable parade of runway-ready looks that feel both lavish and exacting, giving the ensemble a real sense of style and presence. The audience also seems as ready for the spectacle as the performers, dressed up in their own high fashion, which makes this musical feel almost like a cultural fashion event.
Stevie Doc’s performance as Andy carries much of the show’s heart. Vocally impressive, she transitions convincingly from an underconfident newcomer to someone who learns what she truly wants. There’s a genuine arc here, and her chemistry with Keelan McAuley’s Nate, the lovable boyfriend, brings warmth to scenes that might otherwise feel dictated by plot mechanics alone. McAuley lends Nate a fun, buoyant presence; you end up rooting for him far more than you might expect in a story that often revolves around mockery and fashion snobbery.
Matt Henry’s Nigel is a joy. A kind of camp guardian angel to Andy, Nigel infuses the narrative with charisma and empathy. He’s exactly the kind of supporting role that could easily get lost in the glitz, yet Henry’s portrayal gives it soul. The standout member of the cast, Taila Halford, is the perfect Emily. Funny, vulnerable, and genuinely compelling, the way Halford owns the stage makes you wish she featured even more heavily. Emily is one of the show's more compelling, interesting, and beloved characters, thanks to the actress’s performance.
Vanessa Williams as Miranda Priestly delivers a sense of solidity, and her vocal moments are powerful. Importantly, she refuses to imitate Meryl Streep’s iconic film portrayal; her Miranda feels unique to the stage, shaped by Williams’s strengths. That said, for me, the character doesn’t hit the dramatic impact or carry the required stage presence. Whether that’s due to writing choices or performance choices, the result is that Miranda feels intriguingly detached rather than commanding, which undercuts the tension the character should embody.
Musically, The Devil Wears Prada is a mixed bag. Elton John’s involvement sets high expectations, and while the score is entertaining enough, it lacks any earworms that stick with you after the curtain falls. There are energetic numbers, but no single song emerged as a bona fide highlight worth downloading or replaying.
The large ensemble cast showcases impressive voices and movement, but sometimes that sense of spectacle works against narrative clarity. Group numbers feel as though they’re there to fill space rather than propel character or plot. While the visuals are lavish, at times it feels like the musical’s self-love and constant emphasis on runway flair overshadow the storytelling or sharper thematic depth.
The musical adaptation is very close to the film’s screenplay, sometimes almost line-for-line, rather than developing its own theatrical logic. For someone who loves the original film, this can feel like comforting familiarity; yet for others seeking something that elevates the story beyond mere retelling, it can make the narrative feel unadventurous.
At times, The Devil Wears Prada seeks to make us reflect on the pressures of modern identity and workplace culture; at others, it seems content simply to dazzle and entertain. And there’s nothing inherently wrong with entertainment; the audience reactions are proof of that. But if you’re looking for dramatic profundity or a soundtrack you’ll be humming weeks later, you might feel as though you’ve paid for a beautifully packaged story that plays it safer than it could.
Yet, for all its imperfections, there’s a lot to enjoy here. The Devil Wears Prada delivers what it promises: a visually vibrant, high-energy night out that pairs camp with couture and musical theatre with celebrity charisma. For fans of the film, it’s a sensory treat, a chance to revisit beloved characters in a new medium. Even for those less devoted to the source material, there’s enough sparkle, swagger, and vocal talent to make it a worthwhile West End experience. Think of it as entertaining rather than enthralling, stylish rather than groundbreaking.
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