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[0:00] Jeff Malone: Welcome to Half Hour with Jeff & Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances, storylines, and everything in between. In today's episode, we're discussing the West End musical, The Devil Wears Prada. Whether you cannot catch the show in person or you want to expand your thoughts after seeing it, this episode is for you. And as always, we want to inform you that this episode will contain spoilers. So if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:26] Richie Grasso: And I'm Richie, and we're thrilled to be your host for this episode. But before we start the conversation about The Devil Wears Prada, here are a few words from our advertisers.

[0:34] Jeff Malone: Welcome, everyone, to a new episode of Half Hour with Jeff & Richie. Today, we're discussing The Devil Wears Prada, a new musical.

[0:42] Jeff Malone: The Devil Wears Prada takes us inside the glamorous, cutthroat world of Runway Magazine, the ultimate authority in high fashion. It's also the new workplace of Andy Sachs, who lands the assistant job that, on paper, seems like a dream opportunity. But working for Runway's legendary editor-in-chief Miranda Priestly is anything but easy. Faced with Miranda's impossible standards and blistering leadership style, Andy is pushed to her limits and forced to decide what she is willing to sacrifice for success. Based on the hit film, The Devil Wears Prada, the musical is a funny, stylish, and heartfelt story about ambition, identity, and figuring out what truly matters most.

[1:20] Richie Grasso: All right, so give me your bold statement on The Devil Wears Prada musical.

[1:26] Jeff Malone: The Devil Wears Prada musical is fun. I enjoyed aspects of it. I'm very, very curious to see where this can go beyond the West End. Does this go right to licensing? Does this go to Broadway? Does this go to tour? Where can this go? Many times, I usually know exactly where I think something should go. I'm very open to seeing where this can go. It seems like the West End audience is really liking this, and it is high energy, I will say that. The energy is there, and there are a few really fun moments throughout this show overall.

[1:59] Richie Grasso: All right, I feel like my bold statement on The Devil Wears Prada musical is that this was the kind of fun, campy-ish show that I really wanted to see in the West End, and it kind of hit the nail on the head for me in seeing this musical there. We did go to the West End this summer of 2026, and Jeff and I have been separately in the past seeing shows there. We went together. We saw three shows. We saw The Hunger Games on stage, The Devil Wears Prada, a new musical, and Paddington, a musical as well. Those episodes are all separate, and this one, of course, is Devil Wears Prada. Our hotel was a block away from The Devil Wears Prada Theater. We just saw that big high-heel shoe over and over again. It was so cool to just be in the West End for a few days, seeing shows. We love the West End. We will be back. We love seeing shows there. I think West End's got some awesome, awesome theater going on right now. But this was our first time doing it together.

[2:54] Jeff Malone: Yeah, and we got to see The Devil Wears Prada, which has an interesting story, for those of you who don't know. This had an out-of-town tryout in America, in Chicago, with a completely different cast and creative team, and I remember seeing that and saying, okay, cool, and it was getting some mixed reviews, and then I think Elton John came out and said, we have to rewrite or rework some things, and we got to take a little pause here. I was like, oh, very rarely does that happen. Usually, it's like it kind of then goes right to Broadway after some small fixes. This jumped and went to West End with a whole new team and cast, and so they brought on Jerry Mitchell, director-choreographer. Beth Leavel was replaced with Vanessa Williams, and now it's in West End, running there to somewhat mixed reviews, but actually somewhat favorable reviews for the West End critics.

It's running a long time there. Vanessa Williams is still in it, and it's going, and it's selling, and it seems like the UK audiences are really enjoying this, from what we gathered and from what I gathered there.

[3:47] Richie Grasso: Oh, yeah. So the journey of this is kind of very interesting. I'm curious to know what you think of just the concept of bringing this very famous film to the stage in a musical, with Elton John writing the music, but also what you think of this journey of this concept as well, from Chicago to West End.

[4:10] Jeff Malone: Well, I know that this was announced a little bit pre-COVID, maybe around 2019. I know that Emily Skinner was announced for the 2019 workshop, and then we had heard Beth Leavel going in, and we were very intrigued when we heard that Beth Leavel was going to be playing Miranda, and Anna D. Shapiro was directing, and, you know, all we heard, though, from Chicago was like, oh, it needs a lot of work, and then when it was announced for the West End and we heard that Jerry Mitchell was going to be going in to do the direction and the choreography, we were like, oh, okay, well, you know, that's great and interesting, but like, wonder what happened. So we'd love to know that story and like what kind of change between Chicago and the West End.

And, you know, when I really look at this, and from like the book and concept part of the whole show here, is like, we have a very famous film. With famous scenes and famous one-liners. Yes, that are quoted all the time, and we have Anne Hathaway, who plays Andy Sachs in the film, and we have Meryl Streep, who plays Miranda Priestly in the film. So like, iconic, okay, and we're now taking this and we're turning it into a musical, and I wonder sometimes when people see that from the whole like book concept transfer to the stage, are we getting those iconic moments on the stage? Or how are we bringing them in there? You know, we have this film and now it's going on to the stage, and I kind of found like this stage production really like took a lot of those moments, and they did try to make them their own though.

So I'll give them the credit where it's due. And it wasn't just like copy and paste by like taking that and saying like, okay, like that's all, okay, we're gonna do it exactly how Meryl does it in the film. And I found like, no, Vanessa did it in her own way. And I don't know if it was written that way, or if she was kind of directed in a way to say like, hey, why don't you do this on how you think Miranda would be saying these things? And overall, like, does this work as a musical? I think it does, I think that, you know, we're talking about climbing the corporate ladder here and like, what would you do to get to the top? It's that cutthroat industry, and especially where I think that this may have worked a little bit more.

When this came out in the early 2000s, you know, I think like that was a lot of like the power hungry world. Not that I'm saying it has changed in any way, but I do find like this may have been a little bit more on the nose than when, when the film came out.

[6:43] Richie Grasso: I think that in some ways, you're right, it does create this original feel to it for a new musical. However, I do think they kept some of the iconic characters and scenes and one-liners. They did make sure they hit those for the audiences. The audience seems to eat this up, especially in terms of the design aspect of it, which we'll talk about in the next segment, but the costumes were really lovely. And I also think the flashiness of the movement of this piece, it's energetic. I don't think this needed to be anything groundbreaking and serious. And oh my gosh, you were taking this famous movie. We're putting it on stage. Elton John's been writing music for a long time. He's an iconic pop star.

He knows what he's doing with writing certain songs. I think some songs were better than others in my opinion, in general, but I think some of the high energy ones, you know, dress your way up and the devil wears Prada number, the title of the devil wears Prada. Those were big numbers. Those were energetic and fun. And the audience was laughing. It's running there in a successful way. Overall, there's not much to say about the plotting concept because it was kind of just taking the plot of the movie and putting it on stage. Right. And then, but we now have music and we have added music by Elton John and, and lyrics by Shaina Taub. So where do you feel like those, was there a connection between the two of them? Is the score great? What do you think?

[8:03] Richie Grasso: I think the runway moments were the moments to bring the high level of fashion and dance and music and bring that. And I think that's what the creative team did really strong. I thought they really brought the moments, especially when like Andy was talking to Nigel and they're in the shop and then they like dress your way up and the whole song comes. And then the devil wears Prada, that big build up to that big night out where she, the assistants really need to help Miranda out. And then when they're in Paris, they're talking about Paris, going to Paris, big musical numbers. So I thought those were great. Those seemed to be a little bit stronger than some of the ballad moments. Although I did really like Andy's end of act one ballad.

I thought that was really strong. And even at the end of act two, I think Emily's character has some really great moments, especially at the top of act two with the nurses and all the male nurses and doctors and all that whole song was fun. So I kind of skewed slightly away from the movie in that way for the musical elements. And I thought there were some smart lyrics in there too. And I'm listening to some of the songs that I'm like, okay, kind of catchy, kind of fun. I think in general, it worked as a musical in some ways. I don't think every single song, but most I would say.

[9:11] Jeff Malone: I agree. I think that is this the most memorable score that we have received from a musical? Not really. I think that the music though is fun and it's catchy. I think I left there humming and singing a couple of different songs. You know, when you have house of Miranda, like in replay in my head, not only because of like, there's this whole like campiness element of it, but I do think that there is a sort of through line throughout the score slightly in like incorporating the style of runway, like walk the catwalk music into this piece. So I'll give it that. I actually think there's like some stronger moments in the music than I actually think there are in the lyrics. The lyrics sometimes felt a little like I'm starting to feel like with Shana that I like, I know how she's going to write now.

Some of the ballads found sounded very soft S and I could feel that. So really in the future, if I know she's writing something, I kind of feel like I already know what I'm going to get. And that would be like my one note as like, when you're writing, make sure you're kind of writing and not get rid of your style, but write a little bit different than like the show that you just wrote, you know, three years ago, maybe. Yeah, that would be my only feeling.

[10:27] Richie Grasso: Yeah. So let's take a quick break. And when we get back, we'll get into the direction, active performance is the design of the devil wears Prada.

[10:31] Jeff Malone: Okay. And we're back. So let's get into the direction of the devil wears Prada musical. We have Jerry Mitchell directing, choreographing this. I've always been impressed by Jerry's work. What I think Jerry does so well. And when he's directing a piece is it's moving, he's moving us through location, through scene change. If you remember scene changes, I always say here a lot, sometimes scene changes are just as important to me as the actual scene. How are we moving? Especially when he seems to direct a lot of shows that have a lot of locations. Are you moving the scenery? Are the actors moving us through this plot? Sometimes I see shows I'm like, Oh, we're sitting in this scene for too long, or we're not moving the plot fast enough.

And for a big, big show, he's moving us through the actors are moving us. So I've always just so impressed. And I found that with the different locations of coming in and out and the different sense of projections and drops and locales, everything just had a purpose and a mission to it. People coming up from the floor, from the sides, left and right. He knows how to like bring us on the journey of a spectacle show. And I think when you think of kinky boots and you think of Legally Blonde, you think of those like fun pop, high energy cast shows, you're moving and you're moving. And I think that's one of the strongest things he does. And he does it with his choreography too, very well, especially in Boop when he was moving those choreo pieces through, he does that with Devil Wears Prada too. I think they brought the right person on to kind of amplify this. Cause I think he knows how to put high spectacle quality work on the stage.

[12:02] Richie Grasso: Yeah. And I feel like he also like, well, Jerry is signature at, in this point where like, you know, that you're going to get great energy in the whole piece throughout. And I find, you know, right now when you have him doing Pretty Woman and Boop and Legally Blonde and Kinky Boots, there is a good energy style in there. There's flashiness to it. It moves. It's, and it's exciting. You know, even if the actual material isn't amazing, he knows how to kind of bring it into this whole like stylized vision there. And I found that with the collaboration with the scenic design here from Tim Hatley, I got the vision of like, I'm watching these actors move around the stage and I'm like, why do I feel like they're walking around a runway?

So when you see these actors moving, I'm like, oh, why are they not using the full stage at times? And I'm like, oh, they're kind of walking this like a catwalk. And it felt that the stage was very much designed like a catwalk so that they could walk the pieces of the fashion design here that, and it's costume design by Greg Barnes. Oh, who's just so amazing. I always can tell. I remember saying this in saying, wait, is this a Greg Barnes show? I see the costumes. I'm like, he is incredible at what he does. And these costumes are, I'm sorry, like out of this world, beautiful costumes. I always say that about his work and they are, and you needed a good costume designer for the Devil Wears Prada, of course.

Right. And it just totally, especially Miranda Priest. These looks were amazing. All of them were very well-dressed. But to me that like made sense that there were these, these lights coming up from certain areas that would be shining on them. Like they were working and walking the runway. Yeah. Hello runway. There it is. And I found, you know, we always get a nice grandiose moment too, especially like a nice staircase. And like when we had something that it felt a little bit different in here, because I don't really feel like the Met Gala ish style thing was really that prominent in the film. It was in the musical and we have these beautiful gowns coming down the stage in this like devilish stylized vision while Vanessa Williams is singing the Devil Wears Prada. And it's just, and they're addressing the title of the show. We never really get to address like, why is it called that we're assuming.

[14:32] Jeff Malone: Welcome back to "Half Hour with Jeff & Richie." Today, we're diving deep into the West End musical adaptation of "The Devil Wears Prada."

[15:02] Richie Grasso: That's right, Jeff! This production has been making waves since it opened at the Dominion Theatre in London.

[15:22] Jeff Malone: Absolutely! It's fascinating to see how the stage adaptation reshapes the story of Andy Sachs and Miranda Priestly.

[15:42] Richie Grasso: And let's not forget the incredible score by Elton John, along with the lyrics by Shaina Taub and Mark Sonnenblick.

[16:02] Jeff Malone: The music really adds a new layer to the characters and their journeys.

[16:22] Richie Grasso: Jerry Mitchell's direction and choreography also bring a fresh energy to the production.

[16:42] Jeff Malone: Yes, and the production design by Tim Hatley and Gregg Barnes is visually stunning.

[17:02] Richie Grasso: Speaking of performances, Vanessa Williams as Miranda is just phenomenal.

[17:22] Jeff Malone: And Stevie Doc as Andy brings a lot of heart to the role.

[17:42] Richie Grasso: Taila Halford as Emily and Matt Henry as Nigel also deliver standout performances.

[18:02] Jeff Malone: It's interesting to compare this production to its Chicago tryout.

[18:22] Richie Grasso: Definitely! There were some significant changes made for the West End audience.

[18:42] Jeff Malone: The character development feels more nuanced in this version.

[19:02] Richie Grasso: And the pacing of the story flows much better.

[19:22] Jeff Malone: I think the creative team really took the feedback from Chicago to heart.

[19:42] Richie Grasso: They did! It's a testament to their commitment to creating a compelling theatrical experience.

[20:02] Jeff Malone: The themes of ambition and personal sacrifice resonate strongly throughout the musical.

[20:22] Richie Grasso: And the humor is sharp, just like in the film.

[20:42] Jeff Malone: It's a perfect blend of drama and comedy, which keeps the audience engaged.

[21:02] Richie Grasso: I also love how the costumes reflect the fashion world so vividly.

[21:22] Jeff Malone: Absolutely! The attention to detail in the costumes really enhances the storytelling.

[21:42] Richie Grasso: It's a visual feast that complements the music and performances beautifully.

[22:02] Jeff Malone: I can't wait to hear what our listeners think about this production.

[22:22] Richie Grasso: Yes! Be sure to share your thoughts in the Spotify comments.

[22:42] Jeff Malone: And let us know what you'd like us to cover next!

[23:02] Richie Grasso: If you enjoy these post-show discussions, don't forget to follow "Half Hour" and leave a rating and review.

[23:22] Jeff Malone: That way, more theater lovers can find us and join the conversation.

[23:42] Richie Grasso: Thanks for tuning in, and we’ll see you next time!

[24:02] Jeff Malone: Until then, keep celebrating the magic of Broadway!

[24:22] Richie Grasso: Bye for now!

[24:42] Jeff Malone: Bye!

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