In the world of musical adaptations, one principle seems to reign supreme - "Go big or go home." This is particularly evident in the adaptation of the hit book and film about an aspiring reporter's journey into the fast-paced realm of fashion journalism. The auditory experience is nothing short of massive, with disco beats thumping and Elton John's piano-rock ballads blaring. The costumes are a sight to behold, dazzling with their vibrancy and detail. The runway models sashay gracefully from every direction, while the lights paint the stage in red, blue, and white, creating an atmosphere reminiscent of Paris fashion week.

"A Musical That Shines Bright but Lacks the Heart of the Original"

Sound and Music - A Sonic Spectacle

The sound in this musical adaptation is truly a force to be reckoned with. Disco beats pulse through the air, infusing the performance with an energetic rhythm that gets the audience on their feet. Elton John's piano-rock compositions blare with a grandeur that adds a layer of depth and emotion to the story. The music serves as a backdrop, enhancing the dramatic moments and creating a sense of excitement that is hard to ignore. It's as if the composers poured their hearts and souls into creating a sonic experience that would leave the audience breathless.The disco beats not only add a sense of fun and energy but also help to set the tone for the fast-paced world of fashion journalism. They create a sense of urgency and excitement, making the audience feel as if they are right in the middle of the action. Elton John's piano-rock ballads, on the other hand, bring a touch of emotion and drama to the story. They add a layer of depth that allows the audience to connect with the characters on a deeper level. Whether it's a soaring melody or a powerful chord, Elton John's music elevates the entire production and makes it a truly unforgettable experience.

Costumes - A Visual Feast

The costumes in this musical adaptation are a sight to behold. Designed by Gregg Barnes with some additional pieces by Pamella Roland, the costumes are a true reflection of the high fashion world. One red, gold, and black fashion collection stands out with its imperial bling, reminiscent of the designs of Versace. The theatrical edge of Alexander McQueen is also evident in some of the costumes, adding a touch of drama and flair.However, not all of the costumes are created equal. While some are truly stunning and worthy of a fashion week runway, others look like they could be from the Christmas Autograph collection at M&S. This inconsistency in the quality and design of the costumes is a bit of a letdown, as it takes away from the overall visual impact of the production. Despite this, the costumes still manage to make a statement and add to the overall atmosphere of the show.

Characters - Transposed and Flawed

The characters in this musical adaptation are a mixed bag. While some of the performances are strong, others fall flat. Vanessa Williams is a powerhouse singer as editor-in-chief Miranda Priestly, bringing a sense of authority and strength to the role. Her songs, such as the clubby House of Miranda, are a highlight of the show and showcase her vocal talents.However, the other characters do not fare as well. Miranda rises from below the stage, like a devil from the underworld, but her character is too flat and one-dimensional. Her famous "cerulean" speech, which is meant to cut through Andy's snobbish attitude towards fashion, lacks the sharp intelligence and emotional impact that it had in the film. Buckland's Andy has little personality and often feels like a cardboard cutout. Amy Di Bartolomeo's snippy assistant, Emily, sounds as if she is channelling Emily Blunt's voice from the film, which is a bit distracting. Andy's boyfriend, Nate (Rhys Whitfield), is too much of a cipher to care about, although his voice has strains of John's in songs like I Mean Business and The Old You.In a story based in the late 1990s, the uniformly tall and thin models reflect the body fascism of that time. It's as if Sophie Dahl never happened and there is no mention of the plus-size revolution of today. This is a missed opportunity to address an important social issue and add some depth to the story. The characters are also dashed-off transpositions, lacking the depth and complexity that made the characters in the film so endearing. Even Miranda, who is supposed to be the villain, fails to capture the audience's attention and make them care about her.

Comparison to Other Adaptations - A Derivative Show

In a glut of retro film-to-stage adaptations filling up the West End, this musical adaptation stands out for all the wrong reasons. The Curious Case of Benjamin Button, for example, reinvents the film to make it a thing of theatrical beauty and integrity. This musical adaptation, on the other hand, lacks both of those qualities. It feels like a derivative show that has been done before and lacks the originality and creativity needed to stand out.The question remains: what film is next? Bridget Jones, Notting Hill, or Love, Actually? The options are endless, and depressing. It seems that the trend of retro film-to-stage adaptations is here to stay, but will future productions learn from the mistakes of this one? Only time will tell."Gird your loins" is a fitting tagline for this show. It sums up the feeling of anticipation and uncertainty that the audience experiences as they watch this musical adaptation. Will it rise to the occasion and become a classic? Or will it fade into obscurity like so many other derivative shows? Only time will tell.