REVIEW - THE DEVIL WEARS PRADA MUSICAL | DOMINION THEATRE | 25/06/2025

The Devil Wears Prada is one of those mid-2000s films that lives rent-free in the minds of fashion lovers and film fans alike. With a biting script, unforgettable fashion, and performances that became cultural milestones, it was only a matter of time before it hit the stage. This musical adaptation, with music by Elton John and lyrics by Shaina Taub and Mark Sonnenblick, lands in the West End following a try-out run in Plymouth—and it’s strutting into London with its heels high and shoulders padded. Directed and choreographed by the always-brilliant Jerry Mitchell, the show has found a suitably glamorous home at the Dominion Theatre.

I attended the matinee performance on Wednesday 25th June, where several roles were covered by understudies, including Emily (Maddy Ambus), Nate (Liam Marcellino), Chanteuse (Pamela Blair), James Holt (Ciro Lourencio Meulens), and the Hot Nurse (Jon Reynolds). It was a treat to see how smoothly the company adapted and delivered a stylish, confident performance.

At its heart, The Devil Wears Prada is a story about ambition, identity, and the choices we make to “make it.” Andy Sachs, fresh out of journalism school and armed with principles, lands the job “a million girls would kill for”—second assistant to Miranda Priestly, the formidable editor of Runway magazine. Andy begins the job with wide eyes and rolled sleeves, believing she’s just passing through. But Miranda’s world—ruthless, glittering, and fast-moving—has a pull that’s hard to resist.

As Andy is drawn into the high-stakes realm of designer fashion, she begins to lose sight of the people and values that once grounded her. The story tracks her slow but inevitable transformation—from sensible sweaters to couture, from ethical journalist to stylish insider. Yet, what the musical does particularly well is show the cost of that transformation. Andy’s friendships fracture, her relationship with Nate frays, and her moral compass spins as she starts becoming someone even she doesn’t quite recognise.

The stage version keeps close to the plot of the film but makes some thoughtful adjustments. Nate is less of the whiny boyfriend and more of a genuinely supportive partner, which adds emotional complexity. And characters like Nigel and Emily are given more to do, adding heart and humour in equal measure. The pacing is swift but not rushed, and the book by Kate Wetherhead balances sharp comedy with moments of introspection.

In the end, Andy’s decision to walk away from Miranda—and the glittering world she once dreamed of—feels earned and satisfying. It’s not just a tale of fashion; it’s a modern fable about staying true to yourself, no matter how dazzling the distractions may be.

From the moment you step inside the Dominion Theatre, the atmosphere is pure fashion fantasy. The staging, by Tim Hatley, is inventive and cinematic, flipping effortlessly from the slick offices of Runway to the cramped charm of Andy’s flat, then sweeping us to the surreal glamour of Paris Fashion Week. Bruno Poet’s lighting design is bold and beautiful, bringing a sense of movement and urgency to Andy’s world of deadlines and demands.

The costumes—oh, the costumes! Gregg Barnes and Pamella Roland’s designs are an absolute triumph. Think glittering gowns, sharply tailored suits, and more fashion-forward looks than a whole season of Project Runway. Miranda alone wears seven stunning custom outfits, each worthy of its own Vogue spread. The show’s playful use of the aisles as catwalks helps bring the audience into the world, blurring the line between observer and insider.

And the music? I really enjoyed it. Elton John’s score brings vibrancy and flair to the production, with upbeat numbers that keep the energy high and heartfelt ballads that offer space for reflection. While I wouldn’t say many songs stayed with me as earworms, they certainly worked well in the moment. The soundtrack is fun, frothy, and fits the world of Runway like a well-cut blazer. Songs like “Seen” and “Miranda Girl” stood out, and the live band under Katharine Woolley drives the score with energy and polish.

Leading the cast is Georgie Buckland as Andy, and what a debut! She gives the role warmth, humour, and a grounded authenticity that makes Andy’s journey feel real. Her vocals are powerful and assured, and she completely holds her own opposite seasoned co-stars.

Vanessa Williams is utterly magnetic as Miranda Priestly. From her first entrance—sunglasses on, chin high—she exudes confidence and quiet menace. Her Miranda is regal, razor-sharp and full of knowing glances. While I wish the score had given her more standout musical moments, she makes every note and line count.

Emily, played at this performance by Maddy Ambus, was a highlight —snappy, scathing, and perfectly pitched. Her one-liners landed brilliantly, and her vocals were just as fierce as her fashion sense.

Matt Henry brings emotional depth and charisma to Nigel, offering warmth and comic relief in equal measure. His ballad “Seen” is a standout moment—touching, personal and beautifully delivered. Liam Marcellino gave a sincere and sympathetic performance as Nate, and the ensemble worked flawlessly to bring the world of Runway to life, with understudies Pamela Blair, Ciro Lourencio Meulens, and Jon Reynolds stepping up impressively.

The Devil Wears Prada The Musical is a glossy, high-energy celebration of ambition, transformation, and fabulous fashion. It may not be perfect—while the score is fun and vibrant, it could use a few more truly memorable hits—but it’s a thrilling and entertaining adaptation of a story that so many of us know and love.

If you come expecting nuance and subtlety, this might not be your show. But if you’re here for spectacle, sass, and sequins, then The Devil Wears Prada more than delivers.

“It’s fierce, it’s fabulous, and it’s runway-ready—what more could you ask for? That’s all.”

If you’d like more information about the show or to book tickets, simply click the button below to visit the official website.

Click Me

Photo Credit - Matt Crockett and Mark Senior