Dominion Theatre Review 9th September 2026

When a musical is adapted from a film as well known and loved as The Devil Wears Prada, there is always a question of how far it should stray from the original. This production chooses familiarity. It is remarkably faithful to the film, sometimes feeling like the story we already know, only now with songs.

That familiarity is both a strength and a limitation. Fans can enjoy seeing favourite scenes and characters brought to life on stage, but the production rarely surprises us with where the story is going. Fortunately, it surrounds that familiar material with enough glamour, scale and star power to make the journey worthwhile.

Vanessa Williams, who is approaching the end of her run as Miranda Priestly, has exactly the poise and attitude the role demands. She never needs to fight for our attention. From the moment she appears, she rightfully owns the stage and brings the authority of a genuine star to Miranda.

Stevie Doc is fantastic as Andy Sachs and confidently carries the central role. She handles Andy’s transformation from geeky, fashion-indifferent newcomer to an increasingly self-important insider with ease, making the character’s gradual seduction by the world of Runway entirely believable.

Elton John’s score is more uneven. Perhaps that is one of the challenges faced by any new musical: its songs need to make an impact before familiarity has had time to do the work. Some of these numbers feel a little bland and functional, moving the plot forward without leaving much of an impression.

When the score finds its stride, however, it really delivers. “Paris, City of Dreams” brings genuine theatrical drama, while “Who’s She” is an absolute belter: upbeat, infectious and propelled by Jerry Mitchell’s exhilarating choreography.

“Stay on Top” offers another welcome change of gear. Led by Williams, it moves into sleek electropop territory with a distinct Pet Shop Boys feel. The switch in tempo and lighting transforms the stage into something closer to a stylish pop concert and gives Williams another opportunity to command the vast Dominion. I would have loved more numbers with that same confidence, drama and distinctive pop identity.

Visually, the musical is rarely anything less than impressive. The production makes excellent use of the Dominion Theatre’s enormous stage. The Paris sequence is a particular triumph, with a beautifully illuminated Eiffel Tower moving slowly into place and drawing audible gasps from the audience.

Mitchell’s choreography is top drawer throughout. It is inventive, playful and refreshingly unpredictable, ensuring that the ensemble numbers feel alive rather than simply decorative. The costumes are also every bit as special as one would expect from a musical set within the fashion industry, adding colour, spectacle and wit to Andy’s journey through this seductive world.

The Devil Wears Prada may be a little too faithful to the film, and I wish more of its music possessed the individuality of its strongest numbers. Nevertheless, this is a polished, enormously entertaining and visually sumptuous West End production, led by two excellent central performances. It is dressed to impress, and for the most part, it succeeds.

Show	The Devil Wears Prada
Dates & Times	Currently scheduled to run until Sept 2027
Venue	Dominion Theatre, London
Production Website	The Devil Wears Prada
Tickets	The Devil Wears Prada Website