The Devil Wears Prada

The Devil Wears Prada

A Runaway Success!

We dive straight into the characters with a pre-show announcement from Emily (Amy Di Bartolomeo), who does a brilliant job setting the tone, introducing her character, and warming up the audience with some vain and cheeky comments. Throughout the show, she is phenomenal, and in a delightful twist, her character is even given an arc. Di Bartolomeo shines in the role and could not do better.

Vanessa Williams as Miranda Priestly is absolutely phenomenal. She embodies the character with precision and flair, delivering even repetitive lines like “That’s all” with remarkable finesse. Her glamorous entrance—rising from the stage floor—is both visually stunning and cleverly reminiscent of Shakespearean productions where demons (the devil) would emerge from below, symbolising hell. The insults are razor-sharp. References like “hobbits” and quips about replacing animal testing (phrased in far more cutting ways) are memorable highlights.

I love so much about this production. Jerry Mitchell (Director & Choreographer) has turned it into an absolute runway success. The show dazzles after the interval with not one but two standout numbers, both brimming with incredible choreography. In Bon Voyage, hospital beds, “hot nurses,” and clever comedic moments like a dancer with one leg in a cast add layers of entertainment. The following number, set on the red carpet, features Andy (Georgie Buckland) being pulled along in a way that creates a mesmerising effect of gliding with grace across the red carpet. This marks Georgie Buckland’s West End debut, and I can’t think of a better introduction. On stage for most of the performance, Buckland delivers numerous impactful moments and excellent character development.

Other numbers I thoroughly enjoyed were Dress Your Way Up and, surprisingly, the title track, The Devil Wears Prada. While the song starts off sounding slightly forced, it quickly gains momentum, becoming iconic when paired with dynamic choreography and lighting which all help drive the plot forward.

Matt Henry, as Nigel, delivers a beautiful solo and brings charm to his character. Having seen him in other performances, I can confidently say he doesn’t disappoint.

The scenic design by Tim Hatley and lighting by Bruno Poet are nothing short of spectacular. The New York skyline, complete with the iconic Chrysler Building, is a highlight—especially when illuminated at night. Similarly, the Eiffel Tower’s reveal earned gasps and applause, enhanced by stunning blue, white, and red costumes.

The costumes by Gregg Barnes are simply to die for. Each scene boasts its own colour palette, and the styling is enviable. Who wouldn’t wish they could drape a jacket over their shoulders without it falling off? Barnes’ collaboration with Hatley and Poet ensures a seamless performance throughout, tying everything together beautifully.

This is a big ensemble show that the West End truly needs right now. It encourages the audience to dress up for the theatre, which is always a delight. It’s the kind of show you could see again and again.

Even the branding extends into the programme, which is designed to resemble a glossy fashion magazine—an absolutely inspired touch that I personally adored.

As much as I loved the show, there are two aspects that annoyed me:

Andy and Nate’s Relationship: There are some changes from the film, but one that I cannot forgive is Andy getting back together with Nate. In the film, her journey is one of self-discovery—leaving an unsupportive boyfriend, having a fling with her idol, and ultimately becoming a strong, empowered woman. Reconciling with Nate, especially after sleeping with another man, undermines her moral high ground in leaving Runway.

In the apartment scenes, the set design feels inconsistent. The bedroom and kitchen sections are joined together to convey a small flat, which works overall. However, the lack of coving and mismatched wall textures between the brick-style bedroom and plain kitchen creates a distracting visual disjoint. This may be a leftover from a previous design concept.

The Devil Wears Prada is a stylish, vibrant, and endlessly entertaining production that I would happily see over and over again, despite its few minor flaws. It’s an absolute must-see for anyone who loves musical theatre or the iconic fashion world.

That’s all.

Photo Credit Matt Crockett