Lauren Weisberger, hoping to become a writer, got a job of assistant to Anna Wintour, who was then editor-in-chief of American Vogue and the most powerful woman in publishing.
The job (“a million girls would kill for this job”) was demanding, fast-paced and stressful. Weisberger wrote a book in 2003 about her experience and it caused a sensation.
The book, a satire on haute couture, was turned into an iconic film in 2006. Directed by David Frankel and starring Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci, the fast-moving film, brilliantly edited, is a hard act to follow. The film has charisma. The musical does not.
Streep, elegant and witty, gave an unforgettable performance as Miranda, the icy-cold editor-in-chief. Anne Hathaway as Andy, the ambitious assistant who puts her career first and her boyfriend second, was also unforgettable.
Ruthless and manipulative, aloof and demanding, Miranda is not happy unless everyone around her is panicked, nauseous and suicidal. She keeps all the staff on the magazine on the run doing endless tasks which always have to be done straightaway.
The film has now been turned into a musical with music by Elton John and lyrics by Shaina Taub and Mark Sonnenblick. Kate Wetherhead’s book follows Aline Brosh McKenna’s screenplay closely and many of Miranda’s withering putdowns are greeted by members of the audience, who have obviously seen the film, with the delighted laughter of recognition.
Jerry Mitchell, the director and choreographer, keeps the production, designed by Tim Hatley and colourfully costumed by Gregg Barnes, on the hectic move.
Vanessa Williams is Miranda and she makes her entrance via a trapdoor. She and Georgie Buckland, as Andy, and Amy di Bartolmeo, as Emily (Miranda’s highly-strung personal assistant), belt out the songs. Matt Henry as Nigel, the art editor, has the most heartfelt number.
The only reason for turning The Devil Wears Prada into a musical is that it is going to be at least as good or even better as a musical and that the songs, lyrics and production numbers are going to be unique and memorable. But that is not the case; and there are too many songs and too many production numbers, which add nothing, get in the way and hold up the storyline.
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