Dominion Theatre

Sounds, sets and sashays! Vocals that will knock your head off & a cast that move together as one. You know how that thrills me.

The Devil Wears Prada at the Dominion Theatre struts onto the stage as a dazzling mix of high fashion, bold performances, and sharp societal critique. From the first notes of Elton John’s campy, self-aware score, it’s clear this adaptation knows how to poke fun at itself while delivering serious entertainment. Songs like “I Only Love You for Your Body” sparkle with wit and bite, perfectly matched by a cast that hits every note—both vocally and emotionally. It’s a rare treat to experience a production where the ensemble feels this cohesive, and Vanessa (as Miranda) channels icy authority with a sultry, jazzy depth that steals every scene - unless Georgia (Andy) Amy (Emily) and Matt (Nigel) are in it, and then it's anyone's guess as to who you should be impressed by most.

The voices are nothing short of stunning, with not a single wobble in sight on the night we were there. The women’s powerhouse vocals, bluesy and rich, evoke a throwback to the UK’s soulful 90s and 00s girl-pop singers (not a joke - go and listen to any girl group in the 00s and you’ll hear what I mean vs. today), perfectly suited to the musical’s late-2000s setting. Georgia as Andy captures the scrappy determination and vulnerability of the role with jaw-dropping vocals that hold their own against Vanessa’s commanding Miranda and the ridiculous power in Amy’s Emily. Meanwhile, the male cast—whether decked out in tailored suits or as Hot Nurses under Emily’s withering command—draws the eye with standout individual performances that ooze charisma. I genuinely couldn’t take my eyes off of any character in the ensemble of any gender. Each stood full on that stage in their own right, choreographed, dressed and lit to perfection.



The musical doesn’t just rely on spectacle; it uses its glitzy veneer to dissect deeper themes. Andy’s transformation highlights the tension between self-expression and societal judgment, with fashion as the ultimate vehicle of cultural capital. The production brilliantly balances its critique of consumerism and identity with humour, making you laugh at Miranda’s quips while questioning the systems that keep us all chasing “the next big thing.” As much as Andy rejects her high-fashion life, the choice to return to her ex-boyfriend is the only thing that still feels like a frustratingly dated pivot, especially in today’s world where ambition and authenticity shouldn’t be mutually exclusive, and where supportive men (even at the top of your game or when going through personal crises) are something more women are demanding So what if he didn’t like the more powerful you? There were bigger fish ready and waiting, Andy! Not all “find yourself” narratives should still end in realisation that in finding themselves, they also lost themselves or that what it means to accept the new with the old means taking back someone who didn’t support you at your worst. 



Visually, the production is sleek but never overwhelming - pure drama in lights, sets and fashion. The minimalist sets are complemented by stunning costumes that work for fashion devotees and the clueless alike, smothered in bright tones. The subtle humour and relatability of the wardrobe references ensure no one in the audience feels alienated. Even for a self-proclaimed non-fashionista, the nods to style and creativity land beautifully. Emily’s arc shines brighter here than in the film, with her injury forcing her to pause and reassess—only to emerge more driven than ever, her humour and warmth making her one of the most relatable characters on stage. I can certainly take a few lessons from her and the rest of the cast here too. Can we ever really be 100% of everything?

Only word of warning - watching this with Vanessa as the insatiably driven Miranda will literally trick your brain in to thinking that you're watching Ugly Betty. You are going to have a really hard time separating the stories at all and it will seem like you've watched the film version of the TV show. I was constantly waiting for her to scream out "MARC"!



My only critique is that in 2024, the narrative limitations of The Devil Wears Prada feel more pronounced, though this seems to stem from the original story rather than the musical adaptation, which faithfully reflects the film. The well-known "cerulean blue" speech captures the hidden influence of fashion on everyday life, yet it still misses a critical point: many young women, like Andy, are pushed away from fashion not out of apathy or snobbery, but because they lack access to it. Poverty often drives the “I don’t care about fashion” mindset, which is better understood as “I can’t afford to care.” Even the magazine Andy works at is a luxury many cannot afford. Written by someone deeply embedded in the industry, the story highlights fashion's far-reaching impact, a surprise to some when hearing that speech for the first time, but fails to fully balance this perspective by addressing the barriers that keep it inaccessible. This omission feels a little tone-deaf today, The narrative defensiveness about fashion’s value could use a little more empathy and nuance. Again - that's a product of the time and the evolution, and stagnation of, women's places in leadership over the 20 years of its existence. Not a knock on the musical or even the original writers own perspective.

Another lingering frustration lies in how Andy’s transformation is portrayed. Her happiness after her makeover and her growing confidence in the high-powered world of fashion are framed as dangerous and devilish, requiring her to "go back" to her simpler, pre-transformation life—complete with a boyfriend who ultimately disliked the ambitious version of her. In the 2020s, this resolution feels out of sync with modern feminism. Andy evolves through her career, blending her style with the industry’s while finding success in publishing, which could easily open doors beyond fashion. Why should she abandon all of this just because her boss is a narcissist? Why not break convention from within? Instead of pivoting and forging her own path with contacts she's made, Andy retreats, quits and throws her phone in a fountain, heading back to her old fella. She confirms to herself that she doesn’t belong in the fast-paced world she clearly enjoys. While her career ultimately works out and takes her back to her love of writing pure, the decision to return to her unsupportive ex feels regressive, especially when she’s thriving in her professional growth. It’s a narrative choice that could benefit from a modern reimagining. Want me at my best? Or just my most powerless? You get the best when you accept the worst. "God complex" transformation and all.

Ultimately though, The Devil Wears Prada succeeds because it’s as camp and fun as it is thoughtful and poignant. The musical amplifies the original film’s humour while adding a deeper exploration of identity and ambition through its songs and performances. Whether you’re dazzled by the high fashion, moved by the stellar vocals, or inspired by the thematic undercurrents, this is a show that sticks with you. Much like both Miranda and Andy, it refuses to be boxed in, delivering a layered, toe-tapping spectacle that’s as vibrant as it is thought-provoking. 

A thoroughly wonderful 2 and a half hours I would repeat, even as someone completely dumb to fashion, over and over again.



How The Devil Wears Prada Scored in Review...



 

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Our review scoring explained:

As of November 2024, our show rating system will be changing to further refine how we score individual reviews. Productions will stay rated out of 5 but now across the below categories, with each category having a possible 10 stars also - a total of 50 points up for grabs.

10/10 for each point will result in a 5/5 show. 5/10 for each would result in a 2.5 star show. Scores /5 will be rounded up to the nearest half star.

The categories reviewed against are:

Story & Themes

Plot, script, dialogue, pacing, emotional resonance, and thematic depth.
How well the story connects with the audience and delivers its intended impact.

Aesthetics (Visual Design)

Sets, props, costumes, lighting, overall visual appeal.
Covers how the visual design contributes to the mood, themes, or story.

Sound & Music

Music, sound-scaping, score, songs, auditory experience.
For plays: emphasises sound design and how it supports the atmosphere or storytelling.
For musicals: focuses on the quality and integration of songs and score.

Movement & Choreography

Dance, blocking, physicality, use of space, movement direction.
For plays: addresses physical performance and staging.
For musicals: includes choreography and integration of dance.

Cast & Characterisation

Acting performances, character portrayal, chemistry between cast members.
How effectively the cast embodies their roles and supports the narrative.