Review Roundup: BURLESQUE THE MUSICAL Opens in London

Burlesque has officially begun! Burlesque the Musical based on Steven Antin’s film starring Christina Aguilera and Cher, just celebrated its West End opening night at the Savoy Theatre. 

The cast includes Orfeh (Tess), Todrick Hall (Sean), Jess Folley (Ali Rose), Asha Parker Wallace (Nikki), Paul Jacob French (Jackson) and George Maguire (Vince) are:  Michael Afemare (Ensemble), Callum Bell (Swing), Courtenay Brady (Ensemble), Paje Campbell (Ensemble), Sophie Cracknell (Daphne), Hope Dawe (Alternate Ali Rose), Jake Dupree (Trey/Chardonnay), Marlee Fergusson (Ensemble), Angus Good (Swing), Charlotte Jaconelli (Queenie), Elly Jay (Swing), Idriss Kargbo (Stand-by Sean), Billie Kay (Sophia and Second Tess), Deja Linton (Ensemble), Hollie-Ann Lowe (Ensemble), Callum Macdonald (Cover for Vince and Trey), Alessia McDermott (Summer and Second Nikki), Jess Qualter (Spring), Liam Roodhouse (Ensemble), Janine Somcio (Ensemble), India Thornton (Dance Captain and Swing) and Daniel Wijingaarden (Ensemble).

Let's see what the critics are saying about the new muscial...

Aliya Al-Hassan, BroadwayWorld: There is some really good material in the show, but it doesn't feel sure what it is supposed to be. Goofy comedy is mixed with satire, provocative dancing, endless songs and somewhere is a romance and a reunion of a mother and child. There's even a trans storyline shoehorned in. To quote Lena Dunham, it's 'too much', especially the 30 (yes 30) songs.

Clive Davis, The Times: All I can say is that, despite its rough edges — the book, by the film’s director, Steven Antin, gets hopelessly tangled in the second half — Todrick Hall’s production has more vim than that other recently arrived contender in the hen party stakes, The Devil Wears Prada. And in the pairing of Jess Folley and the American singer Orfeh (who is making her West End debut) the evening unfurls some powerhouse vocals.

Arifa Akbar, The Guardian: It is over-adrenalised and messy in its plotting, but you forgive the blips. This is a production stuffed with personality, spectacle and wow factor. Come for the nostalgia, perhaps, but stay for the new kicks: bigger, naughtier and camp as hell.

Alex Wood, WhatsOnStage: Burlesque is now a perfectly fine musical. An entirely average, run-of-the-mill, engaging evening... Some powerhouse performances, popping choreography and a select few one-liners bring the joy in perfectly adequate measures. But it’s a show broadly lacking in flare or heart – chugging through the motions like a well-oiled machine without the sweaty, grainy authenticity that made the film so memorable.

Patrick Marmion, The Daily Mail: Effort cannot be faulted – except there's way too much of it in a laborious evening pushing three hours… The upshot is rambling raunch, musical cliche and automated whooping. May it rest in peace.

Adam Bloodworth, City A.M.: At points, the Burlesque musical feels like a massive Magic Mike production where shimmering torsos are the main characters, but away from the sensation, there is depth... Don’t spend too much time worrying about [the plot]: this is the messy, chaotic world of burlesque and what matters is the vocals are in order.

LTR, London Theatre Reviews: It’s rare to find a show that manages to be both a full-throttle spectacle and a genuinely feel-good experience, but Burlesque hits that sweet spot. You’ll laugh, cheer, and leave the theatre wanting to do high kicks in sequins. It’s bold, it’s brash, and it’s completely irresistible.

Laura Harris, West End Best Friend: Though not without its flaws, Burlesque The Musical delivers an exciting night at the Savoy Theatre. Its lavish production values and powerhouse vocals culminate in a finale awash with glittering confetti that leaves the house buzzing... Film fans may find Hall’s expanded creative control as director, writer and choreographer both ambitious and distancing from the original emotional core, resulting in a bold reinvention rather than a faithful celebration.

Anya Ryan, London Theatre: With humour that is almost inconceivably up to date – there are references to the couple caught kissing at a recent Coldplay gig, and Baby Reindeer jokes – the night is a flat-out riot. Burlesque is already a cult classic, but this is a glow-up of the highest order. Twenty minutes could be shaved off the running time, and the resolve comes out of nowhere, but it would take industrial-strength scepticism not to fall for this glitter-ordained marvel. If this doesn’t show you how to burlesque, god knows what will.

Nick Curtis, Evening Standard: Glossy back-projections take us from Iowa to Manhattan. There’s a nod towards body positivity and trans inclusion among the lithe calves and twinkling buttocks. The costumes include a pair of cocktail-olive brassieres for the lissom twins performing a number called Dirty Martini, and a corset adorned with wing mirrors and protruding whips for Folley. Lights strafe and confetti cannons eventually ejaculate. This enjoyably absurd musical based on an enjoyably humdrum film is far better than I could have anticipated.

Andrzej Lukowski, Time Out: And FWIW it’s pretty odd as a show about burlesque: I’m not an expert on the form, but only one minor, male character even takes their clothes off and I’m not convinced NYC dive burlesque bars have ever been a thing. If you want to see a musical show about burlesque – Moulin Rouge! is still pretty mild, but it’s a lot more fun. Basically if you’re a big fan of Todrick Hall, this show will be a real treat for you. Everyone else should approach with extreme caution.

Paul Vale, The Stage: For all the dramas on stage and off, Burlesque is an upbeat, sassy story packed with astounding vocals – extensively from Folley and Orfeh – and some genuinely exciting dance routines choreographed by Hall. Antin’s script flips the dynamic of the story, pitching classic burlesque against the new wave, while engendering a sense of family, solidarity and equality within the workplace.

Annie, Theatre & Tonic: Burlesque The Musical does feel like a production that has so much potential, but just isn’t quite ready for the West End, at least for those who want to see a musical that is impeccably polished and refined from its book through to the opening curtain. However, it is still a very fun evening out. The music is strong, the dancers are undeniably impressive, and the cast is bursting with talent. It's clear the production has substantial backing in terms of budget and support. However, it might benefit from redirecting some of that time, energy, and funding toward refining the show from the ground up.

Average Rating: 62.3%