Very much in line with the film, it tells the story of a serious young journalist called Andrea who gets a job working for a prestigious but to her frivolous fashion magazine as second assistant to the tyrannical editor. It’s a kind of Faustian pact in which she has to trade her principles for journalistic success. The question is, will she or won’t she?

Let’s start with how it looks (very appropriate for a show about the fashion industry). The stage is brilliantly lit by Bruno Poet and populated by fabulous dresses designed by Greg Barnes. I believe at least some of them ar genuine haute couteur frocks. Even the proscenium arch has a strip of neon light running round it like the beading on a Chanel handbag. Tim Hatley’s sets suggest the opulence of the world they describe, except of course the set for Andy’s poky apartment. You have never seen such vivid reds as at the Red Ball, centred on an extravagant staircase. And Paris is evoked not only by a giant depiction of the Eiffel Tower but also beautiful red white and blue colours.

The Dominion has a large stage but this show has no problem filling it. Over two dozen performers go through their routines with military precision. Okay, there is the odd occasion when they seem to be just running around but mostly the moves are eye-catching and clever. Models sway down the aisles onto the stage. The second act opens in a hospital where a row of handsome male nurses form a chorus line.

The principal characters are sharply drawn and perfectly cast. Vanessa Williams as Miranda Priestly, editor of the Vogue like Runway magazine, is stupendous, every bit as haughty, cutting and frightening as you would hope. In a ‘less is more’ performance, she emanates power. It’s only a shame that Elton John hasn’t come up with a song that truly conveys her devilish character.

Georgie Buckland as Andy makes her West End debut but you would imagine she was a musical veteran such is the confidence and versatility with which she acts the part of a mouse that becomes a tiger. Very nearly stealing the show is Amy di Bartolomeo who is very funny as Emily, Miranda’s desperate, appearance-obsessed personal assistant. All three women have extraordinarily good singing voices, the kind that can hit spine tinglingly high notes.

Nigel- the Stanley Tucci part in the movie (I say that because I’m not exactly sure what this character’s job is, but he’s important and he befriends Andy)-is played by Matt Henry with humour and sensitivity.

I was concerned by the end of the first act that too many of Elton John’s songs were fast moving and rhythm heavy in the style of Crocodile Rock. Then again, the relentless rock matched Andy’s experience of being swept along by the pace and pressure of her new job.

The second act is a different proposition. The book and the songs reveal  more about the characters’ personalities and stories, so there’s room for slower and more poignant songs, which carry the familiar Elton John stamp. The lyrics are quite witty and take the story forward. Nigel in particular has a plaintive song Seen in which he describes being an ostracised gay youngster saved by joining the fashion world.

So the music works, even if there are no showstoppers and you don’t leave singing any of the songs. At this point, I should say that the live band under Katharine Woolley drives the show like a rocket.

Lightweight, yes, but thanks to a fabulous production and splendid performers, this is a musical to savour. That’s all!

Paul was given a review ticket by the producer.

Othe critics were not so enthusiastic. Read a roundup of their reviews here.