‘What did you think of the Burlesque musical?’ my inbox clamours, primed for righteous outrage after fifteen years of pushback against a movie which was Burlesque in name only (Cabaret, while more credible, was already firmly claimed – and acclaimed). Strap yourselves in for this ‘Reply All’.
Disclaimer: I own the views expressed here, but they were discussed and agreed on with other industry folk who have seen the show over the past week, too. It’s not a comprehensive review of the show, but certainly a Burlesque-eye view. We went in – very intentionally – with arms uncrossed and hackles lowered, snark left at home, and with due respect to blameless fellow performers onstage, including one of our own. We focused objectively on what was presented onstage, not ‘noises off’. While it’s easy to feel defensive and disdainful about the movie and any offshoots, we should avoid emulating some of the critics who, judging by their reviews of this production (and after a decade as a West End critic observing their attitude towards musicals and subject matter like this) wilfully disliked and dismissed it, claiming to suffer through elements of the show which were in fact pretty effortless to digest. They feel that way about us, too. Let’s be better, and do what some of the more objective critics did, which is consider it for what it is rather than what it isn’t and never tried to be.
Burlesque the Musical at Savoy Theatre London, by Pamela Raith Photography
General thoughts on show as a whole: Honestly? We weren’t mad at it. If we ignore our obvious discomfort around the show’s title, it’s a guilty pleasure, an easy laugh, breezy, peppy confection. With a 2h45m runtime it could easily be twenty minutes tighter, and the stakes get about as high as your average Emily in Paris episode, but it caters to its demographic – which relies largely on the 2010 movie’s cult following – delivering all the greatest hits, ‘Wagon Wheel Watusi’ included. Burlesque stays steadfastly in its lane, knows what it is and who it’s for – and there’s synergy and ease with their base, expectations met. But what really gives it legitimacy and carries the candyfloss content are the truly outstanding leads – Jess Folley is angel-faced and funny with a truly jaw-dropping voice, and seasoned pro Orfeh is compelling from the off: powerful, rich vocals and natural authority. Hat juggling Todrick Hall undoubtedly takes the lion’s share – and toes self-indulgence now and then – but his charisma and comic timing are undeniable, and the audience was audibly with him. So altogether, the saying ‘Let people enjoy things’ should apply here.
Okay, preamble over. Let’s get into the Burlesque in Burlesque – the good, the bad, and the fudgy.
Orfeh as Tess in Burlesque, by Pamela Raith Photography
The Good
Or should I say, the potential? As I’ve outlined – nothing gets a deep dive in this puffy production, but Todrick’s comments on the Lorraine show before the West End opening gave me hope we’d see some respectful nods to Burlesque’s history and authentic demonstrations. Industry feedback was given after the Manchester version debuted last year, and Steven Antin – who penned the movie and musical – reportedly promised there would be more burlesque-coded content in this next iteration.
Obviously the biggest win for us is our own Jake Dupree in the mix as their most endearing, joyful, gymnastic self, earning the biggest roar of applause for a 30 second striptease to an excerpt of I am a Good Girl, borrowed from the iconic Crazy Horse Paris. They describe the creation of their new, autobiographical character here. We also get a flash-quiz number, Big, a rapid rap from Burlesque’s Victorian roots to present day, with historic and contemporary namedrops like Sally Rand, Jean Idelle, Fanny Brice, Sophie Tucker, Dita Von Teese, Perle Noire, and Violet Chachki. Some homework has evidently been done.
There’s a sprinkle of classic motifs – D’Lish-esque robes, a replica of Dita’s classic martini glass, pastie and tassel embellishments, and abundant feather fans. We have little Burlesque-coded vignettes, too, more designed to remind us there’s a working club with a show going on all the while, perhaps, than provide fully-fleshed acts. But let’s make the most of the hors d’oeuvres on offer: twin showgirls with martini olive bazooms in front of the Dita-glass, titled ‘Dirty Martini’ (an honorary nod to the icon herself?); a flouncing redhead with a high heel headdress, flanked by feathers in ‘What are Clothes?’ (in fact there are numerous references to removal and lack of clothing throughout the show); and some comedic illusory leg play in ‘Sugar Daddy Diet’ (yeah… more on that later). The quintessential bawdy entendre and tongue-in-cheek tease is present – satire and clowning being a foundation of striptease-focused burlesque today.
Jess Folley as Ali in Burlesque, by Pamela Raith Photography
The Bad
A few things rankled. A token fat performer (a term we use in a reclaimed, respectful way in the industry) in an otherwise conventional mainstream lineup who is also – guess what – a thirsty lesbian. Tick, tick, and threat neutralised. We also noticed that in the orgyesque group cast photo doing the rounds, said performer is positioned next to a box of cookies. A random coincidence, no doubt. I’m sure we’d all like to insist this goes against everything true Burlesque stands for nowadays, but how often do we really do better than this, in truth? Regardless, mainstream commercial theatre continues to disappoint and stereotype when it comes to body diversity – up and down the Strand and Shaftsbury.
Add to that the ‘Sugar Daddy Diet’ number, where our antagonist (props to excellent newcomer Asha Parker-Wallace) eschews a love of hotdogs and candy (eww, gross right?) to become a slender seductress kept sweet by the titular provider. There’s also a casual eyeroll about said character purging offstage. Aren’t we past reinforcing misogynist ‘gold digger’ archetypes, and the heteronormative male gaze UK media still insists we’re catering to, not to mention what it may trigger or reinforce in people – onstage and off – struggling with disorders and dysmorphia? This show isn’t bidding for awards in originality, nuance or substance – as Todrick himself said today, “We are not curing cancer here!” – but it certainly claims to embody ‘diversity and inclusion’, in the program and other promotional materials.With the exception of Jake, it feels like business as usual.
Burlesque musical London cast photo (Jake Dupree (top left), by Haris Nukem
The Fudgy
Fight me, but Burlesque has the best costumery and embellishment in the business, and I know you’d have winced at some of the questionable wigs and unfinished, off-the-rack ensembles mixed in with more polished, custom made examples (props to burlesque crystalling on show courtesy of Rhiannon @nosetotherhinestone). It felt like a clash of the swatches – too many chefs in the couturial kitchen and not all oven-ready. This is a limited run, but I hope the cohesion and consistency – particularly in the big ensemble numbers – can improve by the end of it. There were other moments that could have been so much more, even in the brief windows they were allotted: for example, ‘Bump and Grind’ – playing on the pregnancy of the featured performer, ‘bump’ prominently displayed in a body-hugging catsuit, but without any Burlesque-coded allusion to the origin of the term.
While I wouldn’t anticipate audiences pouring out of The Savoy and into their local burlesque shows en masse, Burlesque the musical gives us a respectful – if rudimentary – hat tip, and deserves independence from the movie it succeeds. If nothing else, Jake Dupree is already proving to be a powerful ambassador – singled out for praise, tags and follows on social media posts and reviews, and could be a compelling gateway to more full and authentic examples of our art form.
Burlesque the Musical at Savoy Theatre London until 6 September 2025.