Burlesque – The Alexandra, Birmingham and Touring

Gracie O’Brien and cast in Burlesque the Musical at The Alexandra, Birmingham and Touring. Picture: Rosie Moore – The Social Sort

Burlesque was reviewed at The Alexandra, Birmingham where it continues until 17 October 2026. The tour continues until 15 May 2027.

Star rating: three stars ★ ★ ★ ✩ ✩

Burlesque has certainly had an interesting journey so far, but we’re not here for the drama, we’re here for the show itself, as it adapts the 2010 film for the stage. The movie arrived on screen with Christina Aguilera and Cher at its centre, and while it received a mixed critical reception, its combination of big voices, spectacular choreography and unapologetic glamour quickly earned it a devoted following, and we all know by now that this inevitably leads to a stage musical.

First seen in Manchester and Glasgow tryouts in 2024 prior to a West End run last year, the show is now showing off its sequins on the road (after a number of delays) in an extensive UK tour running through to May 2027, shimmying for the next fortnight at Birmingham’s Alexandra.

Small-town girl Ali Rose (played by Gracie O’Brien in her professional debut) arrives in New York City determined to find the mother she has never known, but instead finds herself drawn into the glittering, occasionally chaotic world of the struggling Burlesque Lounge. Tess, the club’s fiercely determined owner (Faye Brookes), is battling to keep her beloved venue afloat, while Ali finds friendship, romance and an unexpected family among its colourful collection of performers. With bartender and songwriter Jackson (Tyler Davis) offering a potential romantic connection and various obstacles threatening Tess’ future including slimy ex-husband Vince (Davide Fienauri), Ali must find the confidence to step into the spotlight and prove that she has what it takes.

Burlesque wears its influences blatantly on its sleeve, with Chicago, Moulin Rouge! and Cabaret all clearly visible.  While fans of those shows may still enjoy those same styles here, Burlesque doesn’t deliver them successfully enough to stand on its own stiletto heels and form its own identity.

With its book by Steven Antin and Kate Weatherhead, it’s a simple story about following your dreams and finding where you belong, but there’s really not much else here, so the musical tries to pad things out with superfluous characters who don’t progress the story, far more songs than are actually needed, and an inconsistent tone that leaves the production feeling like a patchwork quilt rather than a cohesive musical.

Directed by Racky Plews, the show tries many things but doesn’t properly lean into any of them, veering from laboured attempts at soap opera drama through to comedy skits, melodramatic power ballads, panto-style villainy and surrealist asides, with Act II in particular feeling like very scene was devised by a different person. The show needs to decide what it wants to be and then really commit to that approach with the pedal to the floor, rather than trying to cover multiple bases and spreading itself too thin.

The score is overstuffed with 39 songs including reprises, combining the film’s existing numbers with new material by Aguilera, Sia, Diane Warren, Todrick Hall and Jess Folley. The strongest numbers remain the memorable ones from the film, with the new material being more padding than progressing the story in a meaningful way, and more than a handful of these could be cut with no real impact.

When the show stands proudly on its strongest foundations (‘Show Me How You Burlesque’, Express’, ‘You Haven’t Seen the Last of Me’), it is hugely enjoyable and well delivered, it’s just a shame there aren’t more of these moments that inject some life and vitality into the production.

The choreography (Robin Antin and Aaron Renfree) is, however, dynamic and energetic, and brilliantly delivered by the performers. The high-voltage finale is a spectacle and shows what the production could be with more of that power running through the main body of it. Also visually, Burlesque certainly lives up to the aesthetic of that world, with an attractive set (Sara Perks), glamorous costumes (Marco Marco), and an abundance of theatrical sparkle that create a suitably decadent atmosphere.

Despite weaknesses in the material, this is hard-working cast gives their all. O’Brien makes an impressive professional debut as Ali, bringing considerable vocal power. She makes the role her own, particularly when given the opportunity to unleash that formidable voice that does Aguilera proud.

Brookes is a commanding presence as Tess, combining glamour, attitude and genuine warmth, while Ryan Carter makes a strong impression as Sean, bringing energy and charisma whenever he appears. Davis provides an appealing Jack and shares an easy chemistry with O’Brien, Vanessa Ela Young has sultriness in spades as Nikki and Fienauri has obvious fun as the suitably slippery Vince. They’re all supported by a fierce ensemble of performers who rarely stop moving and really are the beating heart of the piece.

There is a potentially strong show buried somewhere beneath Burlesque’s corsets, and this touring production certainly knows how to deliver on its visuals and a fun-if-shallow night out. Its storyline is predictable, the book creaks and the expanded score is something of a mixed bag, but when the ensemble break out the moves, it’s an enjoyable experience.

Burlesque isn’t sophisticated musical theatre, nor does it pretend to be, and there are plenty of other shows that offer that. It’s a celebration of glamour and self-belief, even if under the surface is actually just more surface.

Rob Bartley