Elton John tries to resurrect his failed devil wears prada musical in london
- Elton John's musical adaptation of The Devil Wears Prada has reopened in London after a failed run in Chicago.
- Critics have noted the lack of originality in the score and weak character development, especially regarding Miranda Priestly.
- The production's struggles and reliance on familiarity raise questions about its future success in prominent theater locations.
In London, Elton John's musical based on The Devil Wears Prada has reopened after a disastrous debut in Chicago two years earlier. The musical, which features a score by Elton John and lyrics by Shaina Taub and Mark Sonnenblick, has been criticized for its lackluster performances and derivative musical style. Critics are expressing disappointment at the uninspiring music and seemingly half-hearted development of characters, notably Miranda Priestly, portrayed by Vanessa Williams. The score has been likened to bland club beats with little originality, overshadowing the potential mix of comedy and dramatic elements that fans of the original film may have hoped for. The production reportedly retains several plot points and lines from the iconic 2006 film starring Meryl Streep, yet fails to capture the essence of its predecessor. Although some aspects of the show have been deemed competent under new direction, the overall reception remains mixed. Critics specifically note that the score often falls flat, with songs having minimal impact, leading to a disappointing experience for audiences. The musical has drawn comparisons to John's previous works, including the recent flop Tammy Faye, raising questions about his recent creative direction. Despite the challenges faced in both Chicago and now London, the team behind the production appears to be leveraging the existing material from the original film, hoping to attract fans and audiences alike. Questions about the future of the show linger, with many suggesting that it may not be well-received if it attempts to branch out to other prominent theater hubs, such as Broadway, anytime soon. The failure of the nostalgia-centric adaptation raises broader doubts about the viability of theatrical versions of popular films, particularly when they struggle to innovate fellow adaptations. Critics have also mentioned the potential misunderstandings in character arcs and musical numbers that seem disjointed from the rest of the narrative, emphasizing how successful adaptations must carefully weave together familiar threads and new ideas. As the theatrical landscape evolves, audiences will remain cautious about productions that heavily depend on past successes rather than bringing fresh takes to the theater stage. The journey of this musical adaptation may serve as a cautionary tale for future creative endeavors within theatrical adaptations.