It was supposed to be a glitzy reinvention — a bold West End makeover of a much-criticised Hollywood musical.
But as the curtain rose at the Savoy Theatre last night, Burlesque The Musical proved to be more of a nostalgic rehash than a dazzling revival.
A Plot Twist That Tries Too Hard
Based on the 2010 film starring Christina Aguilera and Cher, the stage version takes the same well-worn story of Ali, a small-town girl from Iowa who ends up chasing stardom in a struggling New York nightclub.
But this time, there’s a fresh twist: the nightclub owner Tess is now revealed to be Ali’s long-lost mother.
If that sounds like a stretch, that’s because it is.
Writer Steven Antin, who penned the original film, returns to tweak his script — but instead of adding depth, he piles on improbable melodrama.
New Cast, Same Old Struggles
Jess Folley, who won The X Factor: The Band, steps into Aguilera’s shoes as Ali — a church choir runaway desperate to make it in the big city.
She gives it her all vocally, but like Aguilera before her, she struggles to make us believe in her small-town innocence.
Playing Tess, Broadway regular Orfeh leans into camp with a sulky attitude, towering heels, and an ultra-glam look that makes her feel more like a dominatrix Barbie than a conflicted club owner.
Neither actor quite manages to ground their relationship, and the constant vocal gymnastics — every line of every song turned into an acrobatic performance — leaves the audience more exhausted than enchanted.
Todrick Hall Tries to Save the Show
If there’s one name that dominates this production, it’s Todrick Hall.
Not only does he write 20 of the musical’s 28 songs — alongside additional contributions from Christina Aguilera and Sia — but he also directs, choreographs, and performs two characters: Tess’s flamboyant sidekick Sean and Ali’s church choir leader Miss Loretta.
To his credit, Hall brings charisma, comedy, and energy — and even jokes on stage that his back hurts from carrying the entire show.
But even with his efforts, the evening drags on, pushing close to the three-hour mark with very little narrative payoff.
Songs That Blur Together
Musically, Burlesque The Musical is loud and relentless.
Hall’s tracks blend gospel, rap, and pop into high-energy anthems that aim to uplift — but end up sounding repetitive.
While a few numbers hit the right emotional tone, most serve more as vocal marathons than storytelling tools.
The sheer volume and frequency of the songs leave little room for the plot to breathe.
A Flat Script and Forced Gags
Antin’s script — recycled from his film — struggles to find its footing.
Most scenes feel as thin as an Iowa cornfield, peppered with tired jokes and the occasional nod to current pop culture.
References to Baby Reindeer, Coldplay, and TikTok memes may get a chuckle, but they do little to deepen the characters or move the story forward.
Supporting Cast Steals the Spotlight
Interestingly, it’s the supporting cast that ends up providing the few highlights.
Paul Jacob French stands out as Jackson, the cool and dry-witted bartender, while Asha Parker-Wallace shines as Nikki, the rebellious chorus girl with a sharp edge.
Choreography Goes Through the Motions
With a name like Burlesque, you’d expect sultry, provocative choreography — and while there’s plenty of skin on display, the routines feel more mechanical than sensual.
Somersaults, scissor splits, a touch of can-can, and some Chippendales-inspired boy-band moves make up the bulk of the dancing.
It’s titillating in theory, but never quite lands as genuinely steamy or fresh.
A Glittery Spectacle That Fizzles Fast
All said, Burlesque The Musical feels like a show that confuses quantity with quality — more songs, more sequins, more everything — but somehow still ends up saying very little.
Despite the talent involved and the glossy packaging, it ends up being more effort than entertainment.