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THE DEVIL WEARS PRADA

★★★★★

Dominion Theatre

THE DEVIL WEARS PRADA at the Dominion Theatre

★★★★★

“Crisp, dazzling, bold and brash”

Back in 2003 a young woman was hired as a personal assistant to a very well-known editor-in-chief for ‘Vogue’ magazine. When Dame Anna Wintour (for it was she) learned that a novel (reportedly earning its author a $250,000 advance) was being published, she said “I cannot remember who that girl is”. Within months, though, the rest of the world knew very well who Lauren Weisberger was. When news reached Hollywood, the rights were snapped up and Meryl Streep stepped into Wintour’s high heeled shoes, playing the thinly disguised character of Miranda Priestly – the high-flying, ruthless head of ‘Runway’ magazine.

Fast forward a decade or two. Elton John is drafted into the empire, along with American singer, actress, model, producer, dancer, designer and overall icon Vanessa Williams. Elton’s job is to knock out a memorable and instantly recognisable score, while Vanessa has some pretty lofty stilettos to fill. It has been a long catwalk, that eventually led – via a preview summer season in Plymouth – to London’s grand Dominion Theatre. With the sheer abundance of new musicals currently opening in the West End at the moment, it needs to make a splash to stand out. But as Anna Wintour herself has famously said; “If you can’t be better than your competition, just dress better.” This musical has taken her words to heart.

“The Devil Wears Prada” is, simply put, a stunning production in every way. Crisp, dazzling, bold and brash; it invites you to wallow in the feel-good spectacle without straining to look closely for the hidden safety pins that hold it all together. For that is not the point. This is pure escapism and, as such, arrives at just the right time of the year. Let’s get the anticipated, predominant quibble out of the way first. Why a musical? It was certainly one of my questions. But the answer came quickly. Most of the dialogue is lifted from the film, and what the team have done (Kate Wetherhead’s book, Shaina Taub and Mark Sonnenblick’s lyrics and Elton John’s music) is to let the spoken word bleed seamlessly into song. There is a natural rhythm to the text, that is full of cracking soundbites, that cries out for a melody. Melodies that unmistakably come from Elton’s ivory-tickling fingers. Motifs lifted from his back catalogue ring out loud above the musical theatre bias but, hey, it is uplifting and sounds superb. The voices catapult to the rafters, even if – or perhaps due to – some of the emotion being too impassioned for its subject matter.

Despite a huge ensemble, the story revolves around a small bunch of characters. Wannabee journalist Andrea ‘Andy’ Sachs (Georgie Buckland) lands herself the job as junior PA to the savage chief of the magazine; Miranda Priestly (Vanessa Williams). Initially a square peg in a round whole, Andy undergoes a transformation that puts Olivia Newton John’s leather-clad make-over in ‘Grease’ to shame. The new look comes with greater responsibilities, extra glamour, but also a split form boyfriend Nate (Rhys Whitfield) and a realisation that she has strayed from her true path. She usurps Emily’s (Amy Di Bartolomeo) place in Miranda’s favour, gets off with writer Christian (James Darch) in Paris and unwittingly gets drawn into a back-stabbing subplot that leads the company’s art director Nigel (Matt Henry) to the sacrificial altar. It is no doubt common knowledge, and therefore no spoiler, that Andy ultimately sees the error of her ways. Buckland’s anthemic closing number, ‘What’s Right for Me’, is a pure, belting, sparkling highlight of the show.

Vanessa Williams is made for the role of Miranda. Like the show itself she refuses to take herself seriously. It’s a devil of a role but Williams captures the joy that follows in the wake of the abuse she fires at her victims. A perverse concept, but she gets it right. Her entourage are all triple threats, adept at comic timing, precision dancing and gorgeous singing. The star of the show, though, is Buckland whose Andy is both impressionable and strong. For a West End debut, she astonishingly commands the stage with ease.

It is a large stage to fill. Tim Hatley’s scenic design is a filmic masterstroke that leads us from New York to Paris and back again; weaving through dressing rooms, offices, apartments and boulevards; swooping beneath an illuminated Eifel Tower with a perspective that throws the cityscapes way beyond the back wall. And, of course, this show would never get away with skimping on the costume budget. Gregg Barnes has pulled out all the stops (aided probably by a blank cheque). Our chins are left almost scraping the floor when the jaw-dropping spectacle of the Paris Fashion Week scene closes Act One.

“The Devil Wears Prada” is sumptuously staged under Jerry Mitchell’s slick direction and choreography. Style certainly wins over content – and it is deliciously cheesy. But taken with a pinch of salt the effect is elevating, intoxicating and warming. It does exactly what it is supposed to do. Within seconds of the opening number, we cease to question or care about the artistic choices. Who cares if it comes across slightly dated at times? Or that the characters are skin deep beneath their designer outfits. The show is a glorious triumph. A devilishly good night out. Go and see it.

“Why are you still here? Go! That’s all!”


THE DEVIL WEARS PRADA at the Dominion Theatre

Reviewed on 28th November 2024

by Jonathan Evans

Photography by Matt Crockett

 

 

 

 

 

 

 

 

Previously reviewed at this venue:

THE ROCKY HORROR SHOW | ★★★★ | September 2024
GREASE | ★★★★ | May 2022

THE DEVIL WEARS PRADA

THE DEVIL WEARS PRADA

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Man of la Mancha
★★★★

London Coliseum

Man of la Mancha

Man of la Mancha

London Coliseum

Reviewed – 30th April 2019

★★★★

 

“the real star of the show, is Danielle De Niese …her voice soars and enchants with a lilting sweetness and strength”

 

Man of La Mancha is set in a Detention Centre and begins with the arrival of two new prisoners, Cervantes and his manservant. They have a trunk with them, and the inmates are keen to plunder it. The Governor, played by Nicholas Lyndhurst, wants to put Cervantes on trial and confiscate his belongings if he is found guilty, and Cervantes makes his defence in the form of a play; Don Quixote. The Don tilts at windmills and falls in courtly love with Aldonza, a serving girl and part time prostitute in a roadside inn, who he sees as a perfect woman and names his Lady Duncinea. Cervantes casts the other inmates in various roles, and the Governor plays the innkeeper, giving Lyndhurst the opportunity to switch from forbidding to gently incompetent, which he does with skill and evident enjoyment. Cervantes’ manservant and Don Quixote’s squire Sancho Panza are played by Peter Polycarpou, and he is one of the show’s delights. He is funny and touching in his devotion to the eccentric knight, and to his ‘real’ master.

The other delight, and the real star of the show, is Danielle De Niese who plays Aldonza/Dulcinea. She is fiery, strong and vulnerable, angry at Quixote’s refusal to see her for who she really is, coping with the rough muleteers in the inn, who eventually brutalise her, and very touching at the end when she accepts the name Dulcinea for the first time and starts the spine tinglingly beautiful cast version of The Impossible Dream. Her voice soars and enchants with a lilting sweetness and strength, and her acting is powerful and compelling.

It is Kelsey Grammer’s misfortune to be surrounded by a cast of hugely talented singers. His Cervantes/Quixote is engaging and hugely characterful; on the acting front he doesn’t put a foot wrong, but his voice doesn’t stand up well against virtuoso talent such as De Niese. His rendition of ‘Dulcinea’ felt insecure and in his solo ‘Impossible Dream’ he seemed to be bracing himself for the top notes. When the muleteers sing ‘Little Bird’ it is evident that there are some fabulous voices in the ensemble; this is a very strong cast. Emanuel Alba deserves a mention for his lovely comic turn as the barber, and Eugene McCoy’s Duke has a nice touch of the Lucius Malfoys when we first see him.

As you would expect of the Coliseum, the set, lighting and sound, by James Noone, Rick Fisher and Mick Potter respectively, are superb. Rebecca Howell is the choreographer, and she has created some exceptional work, such as the electrifying gypsy dance, for this piece. Fight Director Kate Waters produced a lovely comedy fracas at the inn, and Fotini Dimou’s costume design allows for some impressively quick changes and helps create a convincing world within Noone’s set.

The story of Don Quixote is a love song to the imagination and Man of La Mancha takes us into a double world. Do we prefer the reality or the fantasy? Each of us has to decide for ourselves, but Quixote’s fantasy world has a purity and beauty that entices and enchants.

 

Reviewed by Katre

Photography by Manuel Harlan

 


Man of la Mancha

London Coliseum until 8th June

 

Last ten shows covered by this reviewer:
The Dame | ★★★★ | Park Theatre | January 2019
Boots | ★★★★ | The Bunker | February 2019
Gently Down The Stream | ★★★★★ | Park Theatre | February 2019
Inspirit | ★★★★ | Vaulty Towers | February 2019
10 | ★★★★ | The Vaults | March 2019
The Thread | ★★½ | Sadler’s Wells Theatre | March 2019
Yamato – Passion | ★★★★★ | Peacock Theatre | March 2019
Hell Yes I’m Tough Enough | ★★½ | Park Theatre | April 2019
Little Miss Sunshine | ★★★★★ | Arcola Theatre | April 2019
Sh!t-Faced Shakespeare: The Taming Of The Shrew | ★★★★★ | Leicester Square Theatre | April 2019

 

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