Music Review: The Devil Wears Prada – Original West End Cast Recording

The Devil Wears Prada – Original West End Cast Recording (Alchemation Ltd & WAB Recording Ltd).

Star rating: four stars ★ ★ ★ ★ ✩

Following its ‘groundbreaking’ launch onto the silver screen in 2006, earning more than $300 million at box offices worldwide, The Devil Wears Prada quickly established itself as a modern classic. Translating such a culturally embedded, endlessly quotable film into a West End musical demanded a creative team of equal stature and, fortunately, one was available. With music by Elton John, and lyrics by Shaina Taub and Mark Sonnenblick, the West End stage production has now been preserved in an original cast recording.

Understandably, audience members may approach a remake of such a well-known movie with hesitation, and such anticipation would be – in some parts – well placed here. There are obvious moments where the songs leave certain pivotal scenes feeling underpowered, and where the listener is almost left wishing for bigger, bolder choices in both the music and lyrics. The second track – ‘House of Miranda’ – is one such example. Tasked with introducing the formidable Miranda Priestly, a character immortalised by an icy Meryl Streep in the film, the number calls for an unmistakable sense of authority and grandeur. Instead it offers a comparatively restrained portrayal, sadly landing a little more Primark than Prada.

However, these inconsistencies are balanced by other outstanding parts of the score that successfully capture both the wit and specificity of the characters. Amy Di Bartolomeo is excellent as savage first assistant Emily, not just in terms of vocal prowess but also her spoken tone and intonation, peppered with several “Oh my God” comments which take off original actress Emily Blunt’s portrayal to perfection. Emily’s main numbers, including ‘How to Survive At Runway’ and ‘Bon Voyage’ are highlights of this score. They stand out for their incisive lyricism, perfectly encapsulating Emily’s acerbic world view (“You want weekends? Vacations? Do you hate your occupations? It’s a privilege to burn out here every day.”)

Georgie Buckland as Andy Sachs also has some wonderful solo opportunities. ‘Who’s She’, charting Andy’s transformation amid the glamour of Paris Fashion Week, is both reflective and expansive, while ‘Miranda Girl’ has the necessary big-hitter feel both of an underdog character taking her place on a global stage, and also of the closing number to Act I.

Act II offers some of the other loved characters a chance for their spotlight moments, particularly Matt Henry as Nigel. His performance of ‘Seen’, describing how Runway helped him feel noticed growing up as a young gay man, offers a poignant reflection on the deeper meaning of the often superficial fashion world, exploring an undercurrent of identity and belonging. It is a strong, emotional moment in the show, delivered with welcome contrast to some of the earlier punchy comedic elements in both the score and script.

Overall, while some songs don’t fully capture the razor-sharp drama and larger-than-life presence that made the film so beloved, there’s still plenty here to admire – catchy melodies, witty lyrics and a clear affection for the source material. It may not be dressed head to toe in high fashion, but it’s far from off the rack either; more a ready-to-wear collection with a few standout pieces that hint at something truly fabulous just beneath the surface.

That’s all.

Sorcha Exworthy