The Devil Wears Prada, the musical, Chicago

Everyone brings their past experiences and prejudices to the theatre. As much as we may try to be objective about what we see, what we are seeing is art and therefore subject to the interpretation by the viewer.

Saturday, August 13, I saw the matinee performance of a new musical, The Devil Wears Prada, based on the book and film and brought to the stage by Kate Wetherhead (book), Shaina Taub (lyrics), and, most notably Sir Elton John (music). Directed by Tony Award winner Anna D. Shapiro, with choreography by James Alsop and designs by Christine Jones and Brett Banakis (scenery and media), Arianne Phillips (costumes), Paule Constable (lighting), and Nevin Steinberg (sound).

The Chicago run at the James M. Nederlander Theatre is a pre-Broadway tryout. In days past, the out-of-town tryout (in Philadelphia, New Haven, Boston, etc.) was an opportunity for the playmakers to test the waters away from the prying eyes of the New York critics. There are countless stories of shows having problematic out-of-town tryouts, only to be “righted” by their creators. It is in that spirit that I approach The Devil Wears Prada. It is a work in progress with much to recommend it, but it needs some refinement before it will be ready for Broadway.

The story is familiar to those who have seen the film starring Meryl Streep and Anne Hathaway. I saw it years ago and enjoyed it, though I don’t remember many details. I purposely avoided watching it again because I wanted this experience to be fresh. An earnest young college graduate, Andrea (Andy) Sachs becomes a personal assistant to the legendarily demanding editor of the major fashion magazine (Runway here, based on the real Vogue). It is a fish-out-of-water tale as naïve Andy finds her way in the real world, with hints of Pygmalion as Andy is transformed and even The Odd Couple as Andy and Miranda negotiate their relationship.

The chief allure for me, the reason for flying halfway across the country to see an unfinished work, was the presence of Beth Leavel, starring as the intimidating Miranda Priestly. I have been a fan of Beth’s from the night she first auditioned for the play I was directing as my thesis production when we were both graduate students at the University of North Carolina at Greensboro, more years ago now than either of us would like to admit. I knew then that Beth had “it,” that special quality that commands attention and demonstrates a special energy, a lifeforce that is palpable but not quite describable.

Since then, I’ve seen Beth give amazing performances on Broadway (The Drowsy Chaperone, The Prom, Young Frankenstein, Mamma Mia!, and others), in regional theatre (Into the Woods in Pittsburgh, Annie in Milburn, NJ, and Gypsy at the 11,000-seat MUNY in St. Louis), and at New York City Center (No, No, Nanette).

Beth does not disappoint in her performance and commands the stage, though the role as currently written does not allow her a “Mama Rose” moment she needs to soar. Her two songs in the first act are patter songs like those written for Rex Harrison in My Fair Lady and Robert Preston in The Music Man. Only in the second act does she have an opportunity to unleash something of the “belt” Broadway audiences have come to know and love. Her performance is clean and crisp, demonstrating just why Miranda is such a significant figure in the publishing industry and such a “devil” as a boss. If you hire Beth Leavel to star in your show, you need to take advantage of what she does best.

Taylor Iman Jones is well-cast as Andy, earnest and eager, testing her wings and torn between her friends/roommates/boyfriend and the glamorous life offered by the magazine. She has numerous opportunities to demonstrate her vocal chops. Javier Muñoz has a great time as Nigel Owens, Miranda’s right-hand man, and steals most of his scenes. He leads the show’s signature number (“Dress Your Way Up”) and has subtle, heartfelt moments recounting his “backstory,” the days of growing up gay in a midwestern town and finding, in fashion magazines, a place where he might fit.

The design elements are appropriate if not show-stopping. This appears to be Anna D. Shapiro’s first time directing a musical after a career creating cutting-edge theatre at Chicago’s Steppenwolf Theatre Company. I wonder what a director with a lighter touch or more experience with musicals might have done differently.

I hope The Devil Wears Prada makes it to Broadway. I want to see it again when the creative team has made the adjustments it needs to completely “work.”


Beth Leavel as Miranda Priestly, curtain call


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