20th Century Studios dropped the all-new trailer for The Devil Wears Prada 2 on the 2nd of February 2026 and, as if orchestrated by Miranda Priestly herself, I took my seat at the West End production of The Devil Wears Prada the very next night. Fashion doesn’t believe in coincidences and neither do I. The timing was impeccable, the stars perfectly accessorised, and for one glorious week, The Devil Wears Prada was absolutely everywhere.
And this stage incarnation comes with serious pedigree: the music is composed by Elton John with his husband David Furnish serving as a lead co-producer, a collaboration that brings pop royalty straight into the West End wardrobe.
I am a huge fan of the original 2006 film to the point where I quote it far more often than I probably should. But honestly? I can’t help myself. What many people forget, however, is that The Devil Wears Prada didn’t start on screen at all. It began life as a novel. Back in 2003, Lauren Weisberger sharpened her pencil, spilled the tea, and created a phenomenon. The book went on to spend six months on The New York Times Best Seller List, not bad for something that was “just a book.”
Fast‑forward to now, and the story has strutted its way onto the West End, where The Devil Wears Prada musical has been playing since 2024 at the absolutely stunning Dominion Theatre. It’s the perfect home for this production: grand, glamorous, unapologetically luxurious and huge. Much like the show itself, the theatre commands attention, and judging by the packed audience’s night after night, Miranda Priestly’s influence clearly hasn’t waned. Fashion fades, but The Devil Wears Prada? That’s forever.
Vanessa Williams takes on the role of Miranda Priestly and does so with such precision and authority that I’m convinced Meryl Streep herself would approve. The voice, the confidence, the immaculate wardrobe, the effortless glamour, it’s all there. Williams doesn’t imitate Miranda; she embodies her. Every entrance feels like an event, every line delivered with that perfectly measured chill. Her standout number, “City of Dreams,” was easily my favourite of hers, commanding, elegant, and dripping in Priestly power.
Emily, however, has always been my character. I see far too much of myself in her, the devotion, the stress, the ambition, the emotional breakdowns played strictly on the inside, so I was desperately hoping she’d be given the justice she deserves on stage. And then, in struts Taila Halford. Incredible. She had Emily down to a tee: razor‑sharp delivery, frantic energy, impeccable comic timing, and every iconic line landing perfectly. “Bon Voyage” was my standout track from Halford, pure Emily chaos, ambition, and heartbreak rolled into one. Absolutely nailed it.
I loved how the role of Nigel is given far more room to shine in the stage show. It was a real joy to get a deeper backstory, understanding who he is, where he came from, and how he found his way to Runway added genuine emotional weight to the character. Olivier Award‑winning legend Matt Henry takes on the role and plays it fantastically well. From the impeccable comedy and flawless fashion to the perfectly timed facial expressions that had the audience in fits of laughter, every moment landed.
One of the standout moments of the show was “Seen,” sung by Henry, a surprisingly serious and deeply moving number about growing up gay and the struggles that come with it. It added real depth and heart to Nigel’s character, transforming him from scene‑stealer to emotional anchor.
And finally, Stevie Doc as Andy. I love, love, loved her transformation, you know the moment: the Chanel boots, the shift in posture, the confidence kicking in as she becomes a true Miranda Girl. That iconic transition is handled beautifully on stage, and Doc makes it feel earned rather than rushed. The accompanying number, “Who’s She?”, was a real highlight and one of her strongest moments.
I was also genuinely relieved, and delighted, that the heart of the story was kept intact. The musical stays remarkably faithful to what fans love about The Devil Wears Prada, without making too many unnecessary changes. It respects the source material while still giving it a fresh, theatrical edge, and honestly, that balance is no easy feat.
The staging, the costumes, the hair, the makeup, the ensemble, the details. Everything about this production has been carefully considered and vividly brought to life. You can feel the craftsmanship in every scene, from sweeping runway moments to the smallest character beats. I absolutely loved it, and I wouldn’t hesitate to recommend booking tickets.
What began as a deceptively cerulean day in London, not blue, not turquoise, but something far more deliberate, unfolded into a glitter‑soaked, high‑fashion spectacle worthy of Runway itself.
Book your tickets here – because fashion doesn’t wait, and neither should you.
That’s all.
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