The Devil Wears Prada

(seen at the afternoon preview performance on 26th October 2024)

It may be £10 for a programme (and to avoid a queue, buy it from the cloakroom at the top of the right-hand staircase to the dress circle as you enter – no line there), but the attention to detail starts right here. The programme is a “glossy magazine,” introducing the feel of “Runway” before the show even starts.

From then on, it’s a class act all the way. Elton John’s music with Shaina Taub / Mark Sonnenblick lyrics deliver banger after banger, combining with Kate Wetherhead’s book to keep the show moving at a pace even Miranda cannot fault.

Best of all, from Emily’s (Amy DiBartolomeo) first entrance from the stalls to ensure audience decorum to Andy’s (Georgie Buckland) self-realisation final curtain, we are totally immersed in a glamourous, amorous world full of distorted values yet never losing sight of core ones to measure them against.

The contrast ensures our heavy investment in each character from the start, and it pays dividends in terrific performances with non-stop plot turns and orgiastically funny barbed wit throughout.

Sticking wisely close to the source material, the show builds entirely properly, a solid base contrasting stressed Emily with Andy and boyfriend Nate’s (Rhys Whitfield) relaxed yet ambitious young apartment partnership.

Andy stumbles into the Runway Magazine web, we up a notch introducing assistant boss Nigel (Matt Henry) who, on stunning form reveals more about himself the less human he tries to be.

Finally, the big moment arrives, rising up (literally). Miranda (Vanessa Williams) is among us. Pause for audience applause, then let the bullets fly... and yet... and yet... over the course of the show we realise just how many perforate her own soul and just what she has been doing for years to try and avoid them.

The quartet each have strong emotional stories and some big songs to deliver them. “How To Survive At Runway,” “Dress Your Way Up,” “Miranda Girl”, “Seen,” “Stay On Top” and of course the title number all hit the mark, delivered to perfection by cast and ensemble.

Jerry Mitchell as director and choreographer makes the same perfect choices as he did in 2015 with “Kinky Boots” (if you enjoyed that, you will devour this). Real people in heightened situations, the action never feels forced.

Small details from smaller roles – James Darch as dodgy author Christian, Josh Damer-Jennings a calculating magazine owner Irv Ravitz and Maddy Ambus in a lovely turn as a French cabaret Chanteuse “Your Twenties” colour in the background. Add Liam Marcellino as Hot Nurse (his acolytes a memorable act two moment) and it all adds to burnishing this brand.

Tim Hateley, Gregg Barnes, Bruno Poet and Gareth Owen share equally as scenic, costume, lighting and sound designers the credit for making the show look and sound perfect. Hateley keeps the spaces simple, a New York skyline and clothes storage area particular triumphs. Barnes fills the latter with outfits which define characters – Andy’s transformation a perfect demonstration of his skill.

Poet ensures the spotlights are always on the right (and often very wrong) people, the aisle moments particularly well done in this trickily large venue. Owen impressed the monkey with head microphones for which it couldn’t (from the front row) see where the power packs and transmitters were. No doubt Barnes was grateful to him for not ruining the lines of the outfits.

The show is a treat for all, not just the fashionista. Those into clothes will appreciate the garments and the tales of those who design and worship them. Outside of that, the humour is razor-sharp, and there is a “Les Misérables” truth in Andy’s emotional journey which delivers a satisfying punch at the finish.

Cancel your bad skirt convention ticket. This is truly the Smash Hit Big Musical London needs. One hell of a show, grab your designer handbag and go.

Standing Ovation given.