It seems like less than 20 years have passed since The Devil Wears Prada was released in theaters. The frenzy over leaked images from the set of the sequel in recent weeks is proof that Miranda Priestly’s fan base remains loyal. But even before that, the stage was already demonstrating the story’s timeless pop appeal.
After a long period of planning, the musical adaptation of director David Frankel’s film and Lauren Weisberger’s book premiered in London to enthusiastic attention. On stage, The Devil Wears Prada has been captivating fans for a year now at the Dominion Theater, which has been completely renovated to accommodate the super production.
And the fact that none other than Elton John took on the challenge of translating the 2006 film’s grace and off-the-wall humor into an original soundtrack has put more of the spotlight on the new West End play (London’s equivalent of Broadway) than usual. In addition to being one of the biggest names in world music, the English sir has also composed other stage hits.
Although it won’t be coming to Brazil anytime soon, The Devil Wears Prada is now one of the great theatrical attractions for tourists visiting the British capital. Even if the musical aspects of the piece lacked sparkle, the production’s charm brought this new version of Miranda Priestly, the iconic editor of a fictional fashion magazine, to the stage in high heels.
Elton John will never repeat the feat of “Billy Elliot” or “The Lion King” of being moving, funny, and at the same time sounding pop enough to play the soundtrack on your headphones. Still, it’s a consistent piece of work, with lyrics by Shaina Taub and Mark Sonnenblick accompanying the melody and seamlessly fitting into the story of an aspiring journalist who falls into the clutches of a terrifying and capricious publisher.
Many of the songs refer to the film’s soundtrack (which included actual music videos for the songs “Suddenly I See” and “Vogue”) and to Elton John’s own career, musically speaking this has to be his most self-referential theatrical work. This month, the original cast went to the studio to turn this song into an album.
But ironically, unlike the movie, the show doesn’t have any great sound moments or intricate choreography. And, again, ironically, this production’s wardrobe is nothing like the cover of the fictional Runway magazine.
While protagonists Miranda and Andy may even dress up for the role, the supporting cast is relegated to generic designs from catwalks frozen in time, recreating chic ideas that are the result of mere fantasy or ignorance.
The original cast, which is still available, includes Vanessa Williams in a role that was praised in theaters by Meryl Streep. With the voice of “save the best for last,” actress and singer Miranda Priestly captivates with her own version of Miranda Priestly, suitably cartoonish but with more comedic timing than what celluloid divas offer.
Andy Sachs, the girl who gets into trouble in the movie, is also sharper. Georgie Buckland, who took on the role of Anne Hathaway, is good at acting and singing, but is restrained in the same scenes as Amy di Bartolomeo. This is a supporting role for Emily, the workaholic assistant that used to belong to Emily Blunt, and is a lot of fun.
In the film-to-musical path that has been widely followed in recent years, The Devil Wears Prada, as was the case with Moulin Rouge, is not original or independent enough to earn its status as a masterpiece. And “Kinky Boots”.
But it’s far from a disaster like “Pretty Woman,” and more in line with hit movies like “Beetlejuice” and “Back to the Future,” movie-based musicals meant to entertain and delight those who are already fans. And, as Miranda Priestly would say, “That’s it.”
About The Author
