|re: Devil Wears Prada - Chicago Tribune Review|
|Last Edit: Delvino 10:31 am EDT 08/08/22|
|Posted by: Delvino 10:29 am EDT 08/08/22|
|In reply to: Devil Wears Prada - Chicago Tribune Review - Barrister1132 09:58 am EDT 08/08/22|
|Consistent with social media reports, the review highlights how underwhelming the songs are for the two women. Single most interesting problem at this point. In some ways the show has the Wicked structural issue; two female co-protagonists (Miranda just is, post Streep stamp even though she functions as an obstacle/adversary). Both have needs and must sing about them. This show seems to want its biggest moments to happen around rather than "from" them. Wicked works in part because we get songs in which two dynamic characters sing both contention and resolution. Obviously, Miranda and Andy don't end up in a "For Good" reconciliation. But doesn't the show need to establish their relationship in strong parallel, musically speaking?
I'm intrigued that the Tucci character gets the moment that would rightly fall to Miranda. Yes, I get it, it makes character sense. Nigel's place in the company. But it does not make structural sense. The biggest show stopper about the fashion world -- it's in the material's DNA -- should belong to Miranda. The decision to under-compose her, or to create a role for a lesser singer, seems to come with risks. When you remember the film, you remember Streep's effortless sway over the world being built. In a musical comedy, that cries out for a song that does that job. Thrillingly. Just my two pennies.
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