Burlesque Musical Dazzles with New Energy
A modern reinvention pulsates with “monster sound, energy and blinding bling”
A vibrant stage adaptation of the 2010 film *Burlesque* offers a fresh, exhilarating take, injecting contemporary flair and a raunchier edge into the classic tale of a small-town singer finding her voice.
A Vocal Powerhouse Duo
This production rivals the original’s star power, featuring the commanding vocals of Orfeh as club owner Tess and newcomer Jess Folley as Ali. Their combined sound is electric, with Folley delivering a roof-raising performance that revitalizes the familiar story.
Unexpected Narrative Twists
Shifting from the film’s focus on fame, the musical sees Ali arrive in New York searching for her mother. This change propels the plot into unexpected directions, adding layers to the familiar narrative structure.
Musical Evolution
With contributions from Christina Aguilera, Sia, Todrick Hall, and Jess Folley herself, the score blends beloved songs like “Show Me How You Burlesque” with new, witty numbers. Tracks such as the rap-infused “Call Mama Daddy” and the jazzy “Ammo” showcase the show’s expanded musical palette.
A Grittier, Raucier Vision
Remarkably, the original film’s writer and director, Steven Antin, returns to helm this musical adaptation. He crafts a world that is less dark than Bob Fosse’s but far more daring and explicit than the original movie.
Antin’s script feels remarkably current, incorporating references to the TV series *Baby Reindeer* and a memorable gag about the infamous Coldplay concert kiss-cam. The show’s humor, despite American accents, possesses a distinctly British sensibility.
Choreography and Costumes Shine
Todrick Hall‘s choreography is a standout, blending athletic prowess with balletic grace and circus-inspired stunts. The dazzling, maximalist costumes by Marco Marco are equally deserving of acclaim. Hall also impresses as a performer, skillfully portraying both Ali’s former gospel teacher and Tess’s loyal associate.
The development of Ali’s romance with Jackson, played by Paul Jacob French, is charming. French delivers a comedic highlight with his song “Natalie,” a playful jab at the film’s earnestness. The production intermittently reveals its theatrical artifice, doing so with a delightful lack of pretension.
New Faces and Familiar Archetypes
Asha Parker-Wallace makes a powerful professional debut as Ali’s rival, Nikki. George Maguire portrays Tess’s ex-husband Vince as a cunning character, drawing comparisons to King George III from *Hamilton*. Unlike Cher’s nurturing presence, Orfeh‘s Tess is a formidable figure with an energetic demeanor, occasionally evoking Michelle Visage.
The show’s aesthetic clearly channels the spirit of RuPaul. While it eschews lip-syncing, the production is awash in leather, feathers, sequins, and disco ball lighting, reminiscent of *Drag Race*. Elaborate harnesses, thongs, and exposed skin are on full display.
Jake Dupree is captivating as the gender-fluid Trey/Chardonnay, particularly during a striptease featuring nipple tassels. Alessia McDermott and Jess Qualter bring further burlesque flair as the playfully kinky twins Summer and Spring.
Despite its occasionally messy plotting, the show’s sheer personality and spectacle are undeniable. This production is an over-adrenalized, campy triumph. Audiences drawn by nostalgia will find themselves captivated by its fresh, bolder, and naughtier incarnation.
