Burlesque 2.0: Stage Adaptation Dazzles with Grit and Glamour
A revitalized take on the 2010 film Burlesque is electrifying audiences, offering a bolder, more contemporary vision of the burlesque world. This new musical adaptation, penned by the film’s original writer and director Steven Antin, eschews cynical rehashes in favor of a spectacle brimming with energy, audacious choreography, and a distinctly modern sensibility.
A Sound to Generate Electricity
The original Burlesque captivated audiences with the powerhouse vocals of Cher and Christina Aguilera – a combination one source described as having “mutant lungs.” But the stage production boasts a dynamic duo of its own. Critics are raving about the combined force of Orfeh, portraying burlesque club owner Tess, and Jess Folley as Ali, a small-town singer with a voice that, according to reports, “could generate electricity.” While Ali still delivers show-stopping performances, the musical presents a grittier, less sanitized version of the story.
From Fame to Family: A Revised Narrative
The film centered on Ali’s pursuit of stardom, interwoven with the club’s financial struggles, echoing themes found in Moulin Rouge. The musical reimagines Ali as a gospel singer – “Beyoncé trapped in a Taylor Swift body,” as one observer put it – who journeys to New York not in search of fame, but to reconnect with a long-lost mother. This shift introduces unexpected plot twists and adds layers of emotional depth.
A Soundtrack for a New Generation
The musical’s score, crafted by Aguilera, Sia, Todrick Hall, and Jess Folley, seamlessly blends beloved classics like “Show Me How You Burlesque” and “Something’s Got a Hold on Me” with fresh, inventive numbers. Standouts include the rap-infused “Call Mama Daddy” and the jazzy “Ammo,” described as “big, fizzing and hugely witty.”
Antin’s Vision: Raunchier and More Contemporary
Perhaps the biggest surprise is that Steven Antin himself helmed this reworking. His vision for the musical underworld is bolder than Bob Fosse’s, avoiding saccharine sentimentality while embracing a level of raunchiness absent from the original film. The script is remarkably current, referencing recent cultural moments like Baby Reindeer and even incorporating a joke about a memorable kiss-cam moment at a Coldplay concert. The humor, despite being set in America, possesses a “peculiarly British” quality.
Choreography and Costumes: A Feast for the Eyes
Todrick Hall’s choreography is being hailed as a sensation, blending athleticism, ballet, and circus acrobatics into a visually stunning spectacle. Marco Marco’s costumes, embodying a “more is more” philosophy, are also earning accolades. Hall, who also directs and performs, delivers a standout performance as both Ali’s former gospel teacher and Tess’s right-hand man, eclipsing Stanley Tucci’s role in the film.
Romance and Rivalry on Stage
The budding romance between Ali and Jackson (Paul Jacob French) is charming, particularly highlighted by French’s comedic number, “Natalie,” in which he hilariously dumps his ex-girlfriend over the phone. The song playfully acknowledges the earnestness of the film, offering an endearing self-awareness. Asha Parker-Wallace, making her professional debut as Ali’s rival Nikki, commands attention with her powerful voice. Tess’s ex-husband, Vince (George Maguire), is reimagined as a conniving Brit, a departure from the film’s more pantomime-esque villain.
A RuPaul-esque Spectacle
The production draws clear inspiration from RuPaul’s Drag Race, foregoing lip-syncing in favor of live vocals and embracing a lavish aesthetic. Leather, feathers, sequins, and disco ball lighting abound, alongside harnesses, thongs, and unapologetic displays of physicality. Jake Dupree delivers a phenomenal performance as the gender-fluid Trey/Chardonnay, complete with nipple tassels, while Alessia McDermott and Jess Qualter embody the burlesque spirit as the kinky twins Summer and Spring.
Despite being “over-adrenalised and messy in its plotting,” the production’s personality, spectacle, and sheer “wow factor” are undeniable. This Burlesque revival invites audiences to revel in nostalgia while embracing a bolder, naughtier, and undeniably camp experience.
