What a fantastic breath of fresh air! In a landscape filled with stage adaptations of old films, this musical take on the 2010 movie featuring Cher and Christina Aguilera carves its own unique path. With a powerful soundtrack, electrifying energy, and an abundance of shine, it feels like Burlesque 2.0.
The original film showcased Cher’s commanding voice alongside Aguilera’s impressive vocal prowess, often referred to as having “mutant lungs.” Now, that chemistry evolves with Orfeh, portraying the burlesque club owner Tess, and Jess Folley as Ali, a small-town girl with big dreams. Ali still steals the show, but this version brings a grittier, more authentic vibe.
Initially, the plot revolved around Ali’s quest for fame set against the backdrop of a financially struggling club, reminiscent of Moulin Rouge. Here, Ali is a gospel singer whose sound is “Beyoncé trapped in a Taylor Swift body,” heading to New York not for fame, but to reconnect with her estranged mother. The story takes fresh, unexpected turns.
The music, crafted by Aguilera, Sia, Todrick Hall, and Jess Folley, retains beloved tracks like “Show Me How You Burlesque” and “Something’s Got a Hold on Me” while introducing new, electrifying numbers such as the rap-infused “Call Mama Daddy” and the jazzy “Ammo.”
One of the biggest surprises is that this spirited reimagining comes from Steven Antin, the original writer and director of the film. His adaptation is not as dark as Bob Fosse’s work, yet it’s raunchier and more audacious than its predecessor. Antin’s script is remarkably contemporary, peppered with references that could easily belong to British humor despite the American accents.
Todrick Hall’s choreography is a triumph, blending incredible athleticism with ballet and circus-style acrobatics, while Marco Marco’s costumes—bold and extravagant—are award-worthy. As both director and performer, Hall steals the spotlight, outshining the benign role played by Stanley Tucci in the film.
The sweet but subtle romance between Ali and Jackson (Paul Jacob French) is endearing, highlighted by French’s humorous solo “Natalie,” where he comically breaks up with his always-absent ex-girlfriend over the phone. This clever song cleverly satirizes the film’s earnest tone without losing charm.
Asha Parker-Wallace shines in her professional debut as Ali’s rival, Nikki, and George Maguire’s Tess’s ex-husband Vince takes on a conniving British role—less villainous, more akin to Hamilton’s King George III. Instead of a fairytale mentor, Tess is now a tough character with fierce energy, reminiscent of Michelle Visage.
The production exudes a distinctly RuPaul vibe: while there’s no lip-syncing like in the film, there’s an abundance of leather, feathers, sequins, and disco lighting—enough to rival an entire season of Drag Race. Characters like Jake Dupree, playing the genderfluid Trey/Chardonnay, impress with stunning performances, while Alessia McDermott and Jess Qualter, as the mischievous twins Summer and Spring, add to the burlesque spirit.
Though it may feel over-the-top and occasionally messy in its narrative, you easily forgive its flaws. This vibrant production brims with personality, spectacle, and jaw-dropping moments. Come for the nostalgia, but stay for the dazzling new twists—bolder, cheekier, and unapologetically campy!
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