Music from Christina Aguilera, Sia, Diane Warren, Todrick Hall and Jess Folley

Directed by Nick Winston

Review by Dominic Corr

Tickets from £15.00

Some of us might be digging out the winter wardrobe, but at The King’s Theatre, Glasgow, they’re giving a lot more by wearing a little less as the Scottish premiere for Burlesque takes to the city with an intensive lustre: bold and explosive, but with just enough heart and community to tie that corset with an accomplished bow. 

Rejuvenating the film to stage mantra, Burlesque plucks elements of the film but creates an entirely new outfit from the pieces with bigger music, bigger characters, and a bigger soul and attitude. Following a sold-out run in Manchester, Steve Antin’s stage musical take on the Cher and Christina Aguilera 2010 film, with music from Aguilera, Sia, Diane Warren, Todrick Hall and Jess Folley (the latter two starring in the production). The beats of the film remain intact, with additional narrative elements and some changes for the stage, as audiences follow Ali (Folley) as they move to New York in hopes of finding their birth mother: Tess, owner of a historic burlesque club, knee-deep in debt with a money-grabbing ex-husband sniffing about backstage. 

Folley and Hall’s additional songs meld into the musical magnificently, infusing a more contemporary flavour of genre and tone that lifts the cult-classic soundtrack into an impressive demonstration which utilises the best elements of the cast with class: power ballads and rap sit side-by-side, each with a place and purpose. Vocally, the pair are perfect. Choreographically, director Nick Winston and Hall’s choreography catapult the second act into the much-needed ‘burlesque’ energy of it all, following a story-driven opening act which gives Folley plenty of time to build a genuine and earnest rapport with the audience and a demonstration of their exceptional vocals before hitting the songs home in the second act.

For Jackie Burns, taking on the role of Tess comes with the sting of following in the footsteps of Cher – something they feed into the character, jest with, but push through to make the performance their own, resulting in a truly spectacular rendition of “You Haven’t Seen The Last Of Me” which is entirely its own being away from the film version – more emotional and earnest, going for a connection with the crowds and story. And it’s a strong chemistry with Hall; the pairs back and forth barbs are often the highlights in comedy – especially with the (very welcome) reference and flung in reference.

The composition effectively takes film elements and re-works them for the stage. The scoring is manipulated to feel seedier, more energised, and connective for live audiences – away from the more precise and pristine cinematic score. It means that the vocals have the most outstanding support they can, backed by the live band and musical director Chris Poon, hidden just behind the curtains and mesh. Filling out the on-stage music, ensemble members prove their talents to the nth degree by strapping on some brass and joining in on the instrumentals – often utilised to aid in transitional moments, as Soutra Gilmour’s large and shifted industrial set is manoeuvred around the offer dimension and weight to the show.

As does Nina Dunn’s video design, which is entirely practical and benefits the show tremendously with its flash and glamour, enabling close-ups to sneak past the lights and sparkle to show a depth of emotion for Folley, or the circling antagonism of Nina Ann Nelson’s brilliantly malevolent and snarling Nikki. A far less redemptive antagonist js George Maguire’s Vince, performed with just the right level of seediness, and the antithesis of Michael Mather’s sweet-hearted song-writing Jackson, whose comedic presence and chemistry with Folley and Burns keeps them toe-to-toe with the leading figures. But whipping the ensemble into a frenzy as Sean, Hall’s central role as Tess’ trusted friend – a star in every sense of performance.

If Burlesque wanted to show them all what it’s made of, it did so in spades, sequins, and skill, with a healthy measure of seduction. For Glasgow to host the show premiere for Scotland and to be one of the only stops on its limited run is extraordinary and a major treat for Scottish audiences. The scale of the show brings the skillset, talents, and spectacle of the Westend to audiences with the comforts of home; this is how you do a stage musical from an existing source. Welcome to Burlesque; welcome to brilliance.

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