A new production of Burlesque the Musical has opened at the Sunderland Empire at the start of its UK tour. Adapted from the much-loved 2010 film starring Christina Aguilera and Cher, the stage version brings the glitter, corsetry and big vocal numbers of the movie into a live theatre setting, with a full band, an ensemble of dancers and singers, and the kind of production values that fill a stage the size of the Empire's with confidence.
Burlesque the Musical began life not in the West End but on the road, with try outs at the Manchester Opera House and Theatre Royal Glasgow in 2024 before a run at the Savoy Theatre in London the following summer. Written by Steven Antin, who also wrote and directed the original film, the stage show carries songs by Christina Aguilera, Sia and Diane Warren, alongside newer material added for the theatre.
This current touring version, directed by Racky Plews with choreography from Aaron Renfree and Robin Antin, is a distinct production from the one seen in London, with its own creative team and its own cast, and it now makes its way around the country having had its run in Sunderland cut short, which is a real shame as this show is well worth seeing and has the making of a cult show.
I have to confess in knowing nothing about this show before press night. I have never seen the movie or the previous stage production. The good news was that I was quickly up to speed with the story and didn't feel that I needed to have seen the movie to enjoy this show.
The opening minutes set the scene efficiently. The audience is introduced to the Burlesque Lounge, a struggling but glamorous New York club, and to Tess, the tough but warm hearted owner who keeps the place running against the odds. We meet Sean, her right hand man and the show's comic engine, along with the resident performers who give the venue its heart.
Into this world arrives Ali, a young woman fresh into the city with dreams of her own including searching for her mother, whose path quickly crosses with Jack, the club's bartender, and with Nikki, one of the lounge's established stars who is not entirely pleased to have new competition.
Without giving away where the story goes from there, this show does follow some familiar paths as the club is in danger of closing and Ali is looking for answers so there are few surprises, however it is still a fun experience for the audience thanks to the razzle dazzle.
Tonight's performance came with a couple of cast changes from the printed programme, and both performers rose to the occasion with real assurance. Macy Dermody Blythe, listed in the programme as Queenie, stepped into the starring role of Ali and brought comic timing and genuine conviction to a demanding part, never once looking like a performer thrown in at short notice. Emma Lloyd took on Queenie for the evening and matched that energy, landing her lines with confidence and giving the character real presence among the ensemble.
Elsewhere the regular cast were similarly impressive. Rhys West, covering in the ensemble, blended seamlessly into the busy dance numbers, and the wider company handled the show's many costume and scene changes with the kind of precision that keeps a large scale musical feeling sharp rather than sprawling. There is a lot going on in this production, and the cast's ability to keep the focus on the characters while the plot moves quickly speaks to strong direction and confident performers.
Vocally the evening had several genuine highlights. Both Faye Brookes (as club owner Tess) and Tyler Davis as barman Jack brought emotion, power and control to their numbers, while alternates Macy Dermody Blythe as Ali and Emma Lloyd as Queenie, despite stepping into their roles for the first time tonight, sang with a clarity and strength that gave no hint of nerves. It is no small thing to take on a lead role at short notice in front of a full house and deliver vocals of that standard, and both performers deserve real credit for how assured they sounded throughout.
Underpinning all of this was a tight, well drilled band led by musical director Michael Bradley. The score demands a lot from the musicians, moving between soaring ballads and driving dance numbers, and the band kept pace with the action on stage without ever overpowering the singers, giving the whole evening a polished, professional sound. I loved hearing a double bass adding to the mix at one point as it helped set up the atmosphere to the scene.
The design work also deserves a mention. Sara Perks' set makes good use of the stage to suggest the intimacy of a nightclub within a much larger venue, while the costumes, designed by Marco Morante, bring the required sparkle and spectacle to the burlesque numbers without ever feeling excessive.
This show might not be everyone's cup of tea. The story behind this production could make a production in itself. Indeed the show might be more popular with the audiences than with some critics. But do you know what? Don't listen to the critics - you know what you like!
Burlesque the Musical is a big, warm hearted night at the theatre, carried by a cast (and crew) working hard. As I have already said, it has the makings of a cult production and it can grow its audience. Whilst it has had a rocky road reaching this point I have to admit that I enjoyed the evening and I am glad I got the chance to see it before it leaves the region. It might be daft, and the story follows familiar tropes, but the sexy feel of burlesque and the strong vocal and dance performances from a great ensemble make this a really pleasant night at the theatre.
Review: Stephen Oliver
Photos: Rosie Moore - The Social Sort
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