Steven Antin’s pop culture phenomenon soars from the screen onto the UK stage through its very first musical adaptation, which is set to go back on tour by the start of autumn. Guillermo Nazara chats with one of its casts members, to learn all the facts about the development of a new show which we surely haven’t seen the last of.
How does it feel to be part of the process of bringing such an iconic film to the stage for the first time ever?
It feels fantastic. It’s always so exciting to be involved in the development of a new musical. It doesn’t happen very often. But when it does, the creative process is so open that you get to bring so much of your ideas into the rehearsal room. You don’t try to fit into a track that’s already made, like with shows that have been in town already and you’re taking the role that somebody else has already interpreted. In this case, you are creating it from scratch. And that’s the most exciting part for me. As you say, the film is so incredibly iconic, and there’s so much from it that we are keeping! Everything that you want from it is gonna be there. All of that makes so proud, apart from the fact that it’s having its world premiere in the UK.
How have you contributed to that creative process?
As a performer, when you’re given instructions about how to deliver your lines, you may try different approaches. And Nick, our director, has endorsed many of them during the rehearsals. I really like that kind of atmosphere, where you’re allowed to do things wrong. Nick spent a lot of time showing us how things should be, but if you chose another way and he liked it, he would go for it. I think that’s great directing. It allows you to be free and make mistakes, but also to be right.
As you mentioned before, many parts of the film have been included. What has been changed instead?
The storyline is slightly different – it’s a bit bulkier, and I think that’s the main difference. There’s also new tracks for the shows that weren’t in the film. They’ve been specifically written for this adaptation, and yet it feels as if they’ve always been there. If you hadn’t seen the movie, you wouldn’t know they weren’t in it. Todrick Hall and Jess Foley, who are also in the show, have penned these new themes and they’ve been incredibly open to change them during the rehearsal process. We’ve really worked as a team. As a performer, it’s been so interesting to see that development process: how melodies may evolve because a singer plays it in a different manner and they like it better, for example. But I won’t say what’s not in the show!
How much has the musical evolved from the beginning up until now?
Since we started rehearsals for the opening in Manchester, we’ve been making small tweaks constantly. However, there haven’t been as many as with other shows I’ve worked on – mainly because this is the result of a 7-year process, and the piece has already undergone two workshops. Yet, if you’ve seen it in Manchester when we had our premiere and you come see it again we go back later this year, I believe you’ll see quite a different musical. The show is not finished yet. I’m really excited to get back to rehearsals in September and see how things have progressed.
What can you tell us about the roles you play?
I’m part of the ensemble, as well as emergency onset swing. I think that the work swings do is incredible, and they really are the backbone of musical theatre – although they don’t get the recognition they deserve. Working in the ensemble is a lot of fun. There are great numbers I get to be a part of and I wear super cool costumes! I can feel very sexy onstage and have a good laugh with everyone!
Has this show posed any particular challenges?
Yes, the main one coming from my physical look. A few years ago, when I did Heathers, I spent a big deal of the show wearing nothing but a pair of pants. I didn’t care much back then. But I’ve aged a bit since then. So getting used to my costumes here was a bit difficult. However, I must say that Ryan Dawson’s designs are phenomenal. During the rehearsals, he did ask me: “how much do you want to show?”. I replied: “Look, I’ve been working hard at the gym recently, so I’ll show as much as you want”. He took that and just run! Later on I realised what I’d done to myself… But it kept me at the gym and also made me keep going. But to be fair, we all love how we look in them. We’re all very hyped about it!
There have been quite a few show with a similar look and style. What, would you say, makes Burlesque unique in comparison to them?
I think our main comparison would be Moulin Rouge, but while that one is so glitzy, glamourous, and all in all, beautiful (as is the film), Burlesque is grounded and gritty. We don’t shy away from showing you the backstage life: we want to take you into the wings, reveal how the stagehands bring pieces to the stage, a couple of costume changes, etc. If you were at the Burlesque lounge, you’d see it. This place is not a West End theatre, it was a little bar in New York City – they wouldn’t have the ability to hide everything from you. That’s what this piece is all about. It’s not that pretty, it’s down to the bones.
If you had to give me one single reason to come see this show, which one would it be?
Because I’m in it! (laughs) Seriously, tough – it’s a spectacle! I didn’t realise how much of a spectacle it was until opening night, where everything was into place: the sets, the costumes, the pyrotechnics! I don’t want to give too much away, but we have this big screen that it’s really like nothing you’ve ever seen before – it’s giving Beyoncé’s Renaissance tour vibes! It’s really mind-blowing.
Production pictures credit to Johan Persson.
Burlesque, The Musical will resume performances on 11 September. Tickets and venues are available on the following link.