Burlesque

(Critique en français : Cliquez ici)

Book: Steve ANTIN

Music and Lyrics: Christina AGUILERA, Jess FOLLEY, Todrick HALL, Sia, Diane WARREN

Director and Choreographer: Nick WINSTON

Additional material – Book: Kate WETHERHEAD

Musical arrangements and orchestrations: Tom CURRAN

Musical Supervisor: Phil BATEMAN

Set Designer: Soutra GILMOUR

Costumes Designer: Ryan DAWSON LAIGHT

Lightning Designer: Jack KNOWLES

Video Designer: Nina DUNN

Sound Designer: Ben HARRISON

Hair and Wigs Designer: Carole HANCOCK

Make-up Designer: Dominic SKINNER

 Illusion Designer: Ben HART

Musical Director: Chris POON

Assistant Musical Director: Caitlin MORGAN

Associate Choreographer: Robin ANTIN

Associate Choreographer: Libby WATTS

Associate Director/Choreographer: Ryan-Lee SEAGER

Casting director: Harry BLUMENAU CDG CDA

Starring :
Jade ALBERTSEN, Joe ATKINSON, Callum AYLOTT, Evonnee BENTLEY-HOLDER, Billie-Kay, Jackie BURNS, Lucy CAMPBELL, Cassidy CANNONIER, Lewis EASTER, Jess FOLLEY, Todrick HALL, Elly JAY, Kitty HARRIS, Yasmin HARRISON, Stefan LAGOULIS, Hollie-Ann LOWE, Callum MACDONALD, George MAGUIRE, Michael MATHER, Alessia MCDERMOTT, Tom MUSSELL, Nina Ann NELSON, Ian OSWALD, Amber PIERSON, Jess QUALTER, Tom SCANLON, Ope SOWANDE, B TERRY and Lily WANG

at
Theatre Royal Glasgow From 11 to 28 September 2024

Opera House Manchester From 3 october to 2 november 2024

The performance we attended was a preview. It is likely to be corrected between now and the scheduled dates in October.

In Burlesque The Musical, the first track sets the tone that we’re going to be more than pleasantly surprised by the new orchestrations. The new orchestrations, which are particularly powerful, are reinforced by the addition of extra backing vocals provided by the ensemble. As a result, the songs are just as suitable for theaters as they are for any evening entertainment.

First of all, let’s come back to the ensemble, which doesn’t just fill the stage, it’s overflowing with charm and literally sets the stage ablaze with its presence. Glamorous, provocative, kinky and a tad decadent, to the delight of the audience. An audience of all ages that reacts with a bang at the end of each performance, but also participates during the show.

It was hard to forget the stars of the film on which the musical was based. However, after a delightful Prologue by Todrick HALL, the first track from the original Welcome to Burlesque reassures us on this point: we won’t be getting imitations of divas Christina AGUILERA and Cher, but real reinterpretations and reappropriations of the roles. And while the punchlines have been retained, the book has been slightly revised to make it more suitable for stage production. As much as Burlesque The Musical remains anchored in a pop style, it also features some of the most melodious ballads and jazz rhythms that go hand in hand with the world of cabaret. That’s what Burlesque is! The musical arrangements are subtle, thoughtful and also crazy.

Jackie BURNS is incredible vocally. She gives us a volcanic Tess! On the other hand, she knows how to be emotional with You haven’t seen the last of me, which features a piano that enhances the artist’s voice while exacerbating her feelings. Life’s not fair it’s fabulous is her final knockout, to a well-deserved standing ovation.

Jess FOLLEY dazzles us on Got it all from you, where her vocal skills are put to the test. She breaks the mould on Tough Lover, the obligatory end of the first act, first in vibrant a cappella, then with power. Act 2 builds on this same power, with a return to this insane energy in the unforgettable EXPRESS, where she takes center stage with panache.

Last but not least, Tom MUSSEL, who played Jackson as a replacement for Michael MATHER during our visit, touches us with his innocence and his voice burning to the ground in the track Bound to you. This track gives rise to a moving scene of magnified eroticism. This suspended moment is preceded by a moment of laughter, with a mischievous nod to the film’s famous cereals box scene.

All the duets in the show, some of which go from solo to duet in this adaptation, have us on the edge of our seats, regardless of the artists who bring them to life. It’s a case of who can give us the most goose bumps.

We love discoveries such as Big, a track by Todrick HALL that plays on many nuances in a crazy number! Absolutely fabulous! Throughout the show, he stands as an MC with multiple personalities in a single character and countless costumes, each more original than the last. And even when there’s a technical problem – which is also the charm of a live show – he doesn’t let it show and goes right ahead with an improvisation, saving the audience from a show stop. He’s a pleasure to entertain with. We’ve already mentioned Big, but let’s add Bigger. His two songs are breathtaking in their musical, choreographic and visual richness. Like the hits from 2010, Big and Bigger are hits in the making! And it’s even better when he pays tribute to some of the leading figures of musical comedy, as well as several pop queens! The winks, always welcome, multiply to everyone’s delight.

One regret remains, however: the nonchalant, costume-less set changes made by the stage managers. We understand that the intention is to make them look like the staff of a “Burlesque” cabaret, but this is too out of keeping with the rest of the show. Let’s hope this detail will be corrected soon. For all that, the stage is perfectly occupied, with very little scenery, but with evolutions that work better than well when brought to life by the ensemble or the singers. We’re in the presence of a wire screen, allowing video and lighting effects of the finest effect. What’s more, we’re treated to special effects that are a joy to watch. All of which makes you want to come back and applaud the show again and again.

Burlesque The Musical isn’t just Big, it’s Bigger!

Synospis

Credit Photo : Johan PERRSON

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