Fashion
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Behind the scenes of the ‘Devil Wears Prada’ musical, changes ahead
“The Devil Wears Prada” musical has been so thoroughly savaged by critics that its producer is publicly defending the Elton John-scored show, telling Page Six that COVID-related setbacks meant it never stood a chance to shine.
Broadway veteran Kevin McCollum told Page Six that seemingly endless cases among the cast and crew left replacements with just hours to learn their roles before the show, and time that should have been spent honing the production went down the drain training up last minute replacements.
McCollum — who has won Tonys for “In the Heights,” “Avenue Q” and “Rent” — tells us part of the problem was that the show’s out-of-town run in Chicago had more cases of the virus than a polka dot print has spots.
While the team would usually have been ironing out the kinks during the short five-week run at the James M. Nederlander Theater, they spent most of their time teaching replacements for those out sick.
“In a new show, any department head, whether props or wardrobe or music, if you lose that person, there aren’t two people waiting. You have to find someone to replace them and get them up to speed,” he said, noting the production had 24 coronavirus cases among cast and crew on opening night.
He told us that some actors filled in roles with just “three hours to rehearse and perform that night. It was spectacular to watch.” Swings, performers who understudy for several ensemble roles, would need to learn several parts in just a day, he said.
Making changes, like adding orchestration, would have led to a “domino effect,” McCollum explains, because adding to a dance number, for example, has impacts on costume changes, microphone settings, sound mixing and more. And they just couldn’t risk complicating an already-chaotic situation with major (if much-need) changes.
He compares the experience to “attaching plywood while in the storm.” “It was like an outdoor activity, but having rain everyday,” he says.
Actor’s Equity rules surrounding COVID-19 can be tighter than Kim Kardashian’s corset, according to McCollum, who hopes things loosen up.
“We have to follow what the scientists say, but we have to decide if the theater business can create an economy where we can produce and create our shows without obstacles,” he added.
McCollum isn’t blaming the virus entirely and knows the show needs alterations. He’s taken feedback from the audience, including exit surveys.
The show, based on the hit fashion world novel and 2006 movie, made $6 million in weeks. The critics though, were tougher than icy editor Miranda Priestly.
The New York Times said: “This is a show that has tried on everything in its closet. Nothing fits.”
Variety called the score full of “sincere and fairly dull songs.” And the Chicago Sun Times took aim at the fashion, saying “Every look… looks under-budgeted and poorly finished.”
McCollum has already raised the funds to keep the show moving forward, he says, and will be making changes along with John and heads of different departments.
“We are all in agreement on things we need to adjust,” he says. “Along with the lyricist and choreographer and creative team, we are clear on what needs to happen. The good news is we will have the time. We have workshops, we have a plan and all that will be revealed once we get our ducks in a row and finish our analysis of what we want to change. Elton will be a part of it.”
“As a line in the opening numbers says, ‘I’ve got work to do,'” McCollum says. “I look forward to people discovering ‘Prada’ when we reopen.”
