For theatre lovers around the world, no show has quite remained on everybody’s lips over the past two years more than Burlesque the Musical. From its World Premiere at Manchester’s Opera House in June 2024, the production has had multiple iterations and creative teams through its initial regional runs, the West End production in Summer 2025, and the ongoing 2026–2027 UK tour. For those who follow our Instagram page, you will know how encapsulated I have been by the ever-changing world of the Burlesque Lounge; however, while I may make reference to previous productions, this review is treating Burlesque 4.0 as a standalone piece out of fairness to the new creative team and company.

Having seen Burlesque 1.0 (Manchester Premiere), 2.0 (Manchester return) and 3.0 (London), and with all of the reported issues and cancellations, I was not only intrigued but felt a duty to my audience to revisit Burlesque with its new creative team and give, as ever, my honest thoughts about where the show is at. And it deeply saddens me to say, I wish I hadn’t. But, hey- life’s not fair- it’s Burlesque 4.0. Upon leaving the press night at Stoke’s Regent Theatre, I had written nine pages of notes. There will be spoilers ahead, so read at your peril.

Penned by Steven Antin, the writer of the cult yet iconic movie, the already loose plot has been adapted to be based in New York as opposed to Los Angeles. With this, the main plotline of the movie must be changed; no longer are “air rights” an issue for Tess (Faye Brooks) to lose the club. Instead, we have Ali (Gracie O’Brien) eloping to New York to find her birth mother, ‘Theresa Richardson’, and Tess is at risk of losing the club due to mounting debts. Sounds straightforward, right? Wrong. The book has had further rewrites, musical numbers swapped about and additional songs, which are occasionally a strength but mainly a detriment.

Under creative direction from Antin and direction from Racky Plews, the show has become the tin man of musicals, lacking heart. Tess is no longer the resilient force with hidden vulnerabilities we fell in love with, instead a manic caricature who rivals Miss Hannigan throughout. Brooks gives an enthusiastic performance- something that can’t be said for other cast members who, understandably so, seem lackadaisical and look like they are going through the motions to get to the curtain call. What is lacking from Tess is her strength. After her triumphant moment of power during Dianne Warren’s ‘You Haven’t Seen the Last of Me’ (now a vocally strong 11 o’clock number), she falls asleep with a bottle in her hand, waking up hungover only for Ali to suggest creating a new show to save the club (which doesn’t feel all that much different from what came before due to a sorry lack of production value). Should it not be the matriarch in survival mode saving the day? To refer to the front-page headlines in ‘Ammo’, Tess truly is in a mess. Sadly, Tess’ moments of vulnerability are consistently overshadowed by poor directorial choices. This, unfortunately, is a recurring theme throughout, with characters not fully realised and, frankly, unlikeable. However- Nikki, who, despite earlier versions, is now finally the character you love to hate in a commanding performance from Vanessa Ela Young.

There are moments and lines that are plainly baffling and, in one case, ironically hysterical. Our dear Miss Loretta is now simply Loretta, harking back to version 1.0 as a friend and coworker of Ali who works at the diner, stripping out Ali’s humble and organic beginnings as a ‘too-much’ choir singer being supported and bolstered by the aforementioned church stalwart. The book takes swings at other shows without its tongue being placed firmly enough in its cheek, “a singing waitress- that would make a shitty musical.” Further oddities arise in the form of Sean referring to the now brunette Ali as legally blonde, whilst additionally Ali’s birth name is revealed as both Alice Rose and Anastasia (to directly quote a line from another scene, “Who the fuck is she?!”). Furthermore, a heavily pregnant Queenie (who I must add is played superbly by Macy Dermody Blythe) is sans baby bump in a split second for the final number.

Joshie Harriette’s basic lighting design is frequently ill-timed or non-existent, leaving the cast’s faces in shadow with murky projections that can’t be seen 90% of the time. A medley starting with the iconic ‘Good Girl’ feels like a blocking run-through and, as the icing on the cake, Ali spoils the end of Act 1 by singing “Don’t Make Me Sing” in front of the Burlesque workforce- culling all surprise in what should be her breakout moment, ‘Tough Lover’. To then be told by Jack, “I didn’t know you did all that!” Did you forget a couple of scenes back, Jack? Maybe too many cookies… The list is endless.

What’s most frustrating here is that, over the course of all the show’s iterations, there have been moments of brilliance. Its current form houses vocally strong numbers (if lacking some of the grit that came before them) and still boasts the electric fan-favourites that catapulted the original to such cult status. Robin Antin and Aaron Renfree’s Pussycat Dolls-esque choreography showcases a high-energy and unapologetically sexy signature style and finds its feet during the larger-scale ensemble numbers, where Harriette’s lighting design also finally comes to fruition. Additionally, Jack (Tyler Davis) is gifted with a crowd-pleasing addition in the form of ‘Natalie’- a surreal blend of Backstreet Boys and Frozen 2. Marco Marco’s Marco Morante’s costume design mostly lands, with Nikki receiving the evening’s gold-standard attire. Also appreciated are the nods to the original film, with Ali’s green dress introduced almost seamlessly in an on-stage quick change. The real highlight, however, comes in the form of Wagon Wheel Watusi- reminiscent of the legendary Dreamgirls’ ‘It’s All Over’- it’s the one time this production feels as though a vision has been fully realised.

Ultimately, there is a good, no- a great show to be had here. Over the course of the last two years, we’ve seen it. But currently touring the UK is a fragmented husk, clinging onto the glitter and sparkle of iterations past. Ultimately, you need to know when to put the pen down before you colour outside the lines. This is a doodle pad.

Burlesque plays at the Regent Theatre in Stoke-On-Trent until Saturday 29th August before continuing its UK tour. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD