Review of ‘Burlesque’: “Christina Aguilera’s West End baby brings a lush array of visuals but poor storytelling”

The much anticipated adaptation of the 2010 movie musical arrives in the West End for a strictly limited run playing until the beginning of September. Guillermo Nazara shares his views on the piece — to let us know if this tough lover of a show makes Aguilera a good girl in the scoring department.

Every story has been told. And surely Christina Aguilera’s lacklustre 2010 incursion into film acting didn’t bring anything new to the screen. It didn’t offer us anything extraordinary either, apart from an electrifying roster of A-list actors, whose commitment to the project raises a few questions about their agents’ efficiency. Then again, it’s generated a cult following over the years, for reasons I still need to learn. And there’s just one way that translates into nowadays theatrical landscape — any popular film must become a musical.

It wouldn’t be the first time that the stage adaptation surpasses its source. The stakes aren’t too high in this case either. Anyone familiar with the uninspired cinematic fiasco will hardly remember any memorable moments beyond its visually arresting musical numbers. If the recount is weak, the delivery is even feebler, acting as an irritating assortment of bland plot turns and cliché lines, as well as character arcs as empty as the current state of my bank account.

That might be why I sincerely don’t understand the hate towards this show. So many warned me before attending. And upon posting about it, my social media channels were instantly flooded with messages from people hoping I was sharpening my knives. It may come as a disappointment to a few that I haven’t loathed the performance as much as they expected. And to a considerable extent, I’ve thoroughly enjoyed the spectacle despite its obvious narrative issues — nothing that its celluloidic counterpart didn’t prepare us for.

It may have been the lack of anticipation from my side that allowed the production to find a better place in my books. The drama surrounding the previews hasn’t gone unnoticed. Detractors have continuously deemed it a catastrophic mess since previews began two weeks ago. Whatever caused that impression is surely gone by now, at least from a technical perspective. The staging works like a dream, with an endless parade of lavish renditions flaunting jaw-dropping dance moves, utmost vocal flawlessness, and intricate set and lighting designs coming together in perfect unison.

The creative team has done their homework over the past days, admittedly against the clock. So has the cast, who, despite their unignorable shortcomings in acting, boast a galvanising presence and rousing musicality. It’s far from finished, however. As much as the overall look of the piece deserves every approval, the narrative is a few rewrites away from landing. To its benefit, nonetheless, the elements are already there.

The show makes a compelling effort to add more layers to the roles. Both the action and conflict are also executed more engagingly, bringing more drama and interest than a whining club owner struggling to keep the lights on. The issue stems from its hasty approach. There are so many poignant themes introduced through the recount (queerness, the sense of identity and community, even single motherhood). And yet, all of them come across as checkpoints the authors have no further interest in dealing with after mentioning them.

As a result, the story doesn’t round off satisfactorily, particularly during Act Two. All its topics are the right ones, and the score proves the writers’ understanding of the genre’s traditional structure. Sadly, that’s not enough, as the pathos rarely materialises due to the absence of space for character introspection. Its rushed, unfulfilling conclusion only accentuates the material’s defects in that field, resembling the last episode of a cancelled television series, forced to wrap up season-worthy plot lines in less than 60 minutes.

A few songs also feel unnecessary, coming off as just an excuse for more floor-show moments. In any case, the soundtrack’s sumptuous style, evenly mixing contemporary pop-rock with a latent Jazz Era undertone, is probably the writing’s strongest component. The lyrics may not be faultless, as some more insight and polish couldn’t harm. Nonetheless, we can appreciate some minor craftsmanship in its form, particularly in a time when rhyme and prosody have become such an endangered species across new theatrical work.

Yet, the production doesn’t promise much more than an obscene celebration of theatrical extravaganza. And in that department, it doesn’t leave audiences unrewarded. Its eye-striking performances and electrifying energy constitute an extremely engaging cabaret-inspired repertoire. And though none of that determines its entire quality as a musical, it certainly guarantees an entertaining evening out.

With many aspects already on the right track but still undelivered to its final destination, Burlesque will charm those simply looking for an unchallenging jaunt dominated by glitz and wows. But regardless of its staggering frontage being the heart of the experience, the piece is in desperate need of finding its own to resonate with viewers beyond the fire and confetti. Then again, its Sugar Daddy number spoke to me almost as deeply as Don’t Tell Mama.

All pictures credit to Pamela Raith.

Burlesque plays at London’s Savoy Theatre until 4 September. Tickets are available on the following link.

By Guillermo Nazara