Movies

PATRICK MARMION reviews Burlesque at the Savoy Theatre: A laborious theatrical rehash of an already lamentable film

BBG News

BURLESQUE, Savoy Theatre, London 

If you’re wondering how to take something already lacking in quality to an even lower level, then the recent West End premiere of Burlesque The Musical should be your go-to example. This stage adaptation was a disappointing revival of the 2010 movie Burlesque, which featured Christina Aguilera and Cher in over-the-top roles.

Initially, the story seemed like a typical tale about Ali from Iowa, a small-town girl who ends up in a struggling nightclub in New York, owned by Cher. However, after being reworked by writer Steven Antin, it has become even less believable as the club owner is now revealed to be… none other than Ali’s long-lost mother.

In the original version, Aguilera didn’t deceive many people with her portrayal of the small-town girl, and in this one, Jess Folley struggles to convince as the choir member seeking employment, after winning The X Factor: The Band.

In simpler terms, Orfeh, who is Ali’s mother Tess, is often seen with a stern demeanor, dressed in a heavily modified Barbie-like appearance, complete with high eight-inch patent leather heels, bondage-inspired clothing, and a Cupid’s bow lipstick.

Women are independent enough to survive alone, yet they meticulously scrutinize every word and note in each song, giving it an intense bend reminiscent of Uri Geller’s bending spoons. Their dedication is commendable, but the performance seems overly laborious, stretching for three exhausting hours.

Our star performer, Todrick Hall, playfully quips that his back aches due to the burden of the show. He penned 20 out of the show’s impressive 28 tracks, which are a blend of gospel, rap, and pop music – featuring collaborations from Aguilera and Sia as well.

In simpler terms, while some songs might be loud or intense, they often don’t drive the story forward as much as they offer recurring rhythms and opportunities for vocal practice.

Apart from overseeing direction and choreography, Hall additionally takes on two characters: Tess’s companion Sean and the church choir leader Miss Loretta from Iowa. Without a doubt, he brings the most humor to a production that could greatly benefit from some comedic moments.

However, Antin’s screenplay, derived from his movie, appears quite dull, much like the open plains of Iowa, and is intermittently livened up by humor related to trending topics such as Baby Reindeer, Coldplay, and a popular TikTok joke.

Antin’s script, based on his film, is not very exciting, similar to the flat lands of Iowa, but it occasionally includes funny references to recent events like Baby Reindeer, Coldplay, and viral TikTok trends.

Exceptional scenes often arise from the contributions of secondary characters, such as Paul Jacob French’s portrayal of the suave, witty bartender Jackson, and Asha Parker-Wallace’s performance as the feisty yet troubled chorus girl Nikki.

The planned dance routine undeniably showcases a significant amount of exposed body parts, but it’s more like rehearsed, predictable sensuality. There are numerous backflips, a hint of can-can, countless splits in scissor form – along with a dash of Chippendales and boy band moves specifically for the tour groups.

The upshot is rambling raunch, musical cliche and automated whooping. May it rest in peace.

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2025-07-23 01:03

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