Review: Burlesque UK Tour

01-09-26 Wales Millennium Centre by Jamie Griffiths

Having seen Burlesque the Musical in its original Manchester incarnation and again during its West End run at the Savoy last year, I went into this new touring version with plenty to compare it with. Taking something this big on the road is no small undertaking, but Burlesque absolutely stands up. This remains a bold, loud and unapologetically glamorous musical, but there are changes here that make it feel like the show is still evolving.

Gracie O’Brien is sensational as Ali Rose. Making her professional stage debut in a role inevitably associated with Christina Aguilera is quite a challenge, but her energy and vocals are extraordinary. It’s a note perfect Xtina performance Aguilera would be proud of. There’s also real chemistry between O’Brien and Tyler Davis as Jackson. Their “Bound to You” sequence feels more seamless and dreamlike than I’ve seen it before, providing a genuinely beautiful contrast to the excess surrounding it.

Faye Brookes is an impressive Tess Richarde. I’ve seen Faye before in Chicago, (she also joined us on Matinee during the run), but I had no idea she was capable of channelling a character quite this commanding. Even better is the reinstatement of Tess’s big number, “You Haven’t Seen the Last of Me”. It was an unexpected delight to hear it given such prominence in this version. The song now feels far more important to Tess’s story and Brookes delivers it to magnificent effect in the second act. It’s a change that absolutely works.

In previous versions I’ve argued that Todrick Hall’s impressive role as Sean has stolen the show. This incarnation feels much better balanced, allowing its leads to share the limelight, although Ryan Carter still delivers a note-perfect performance as Sean and lands many of the night’s biggest laughs.

Carter also doubles as Ms Loretta, and the transformation is so complete that I did wonder whether half the audience actually realised they were watching the same performer. That’s both a compliment and, perhaps, a slight problem. His characterisation and costume are so convincing in each role that the joke risks sailing straight past anyone who doesn’t already know.

As before, we’re treated throughout the evening to little vignettes showcasing the various talents of the club’s performers. And the costumes are as opulent, revealing and showstopping as ever. This is Burlesque, after all. Understatement was never going to be on the dress code.

The staging is complex and, for the most part, works extremely well. The lighting is intense. This really is a vivid, high-energy experience that frequently seems determined to assault every sense simultaneously.

I’m less sold on the decision to split the stage horizontally for much of the evening, with digital screens occupying the upper half. At times it seems to squash the live action into the lower portion of the stage, while the screens themselves don’t always feel as though they’re being used to their full potential.

But there are numbers where everything comes together and the result is pure theatrical extravagance. When Burlesque goes big, it goes very big. And it remains a visual feast. What’s particularly pleasing about this latest incarnation is that it feels more balanced. The characters and performances are being given more room alongside all the sequins, skin, lights and sheer excess.

Having now seen Burlesque in Manchester, the West End and on tour, it’s fascinating to watch it continue to develop rather than simply recreate what came before. There are things I’d still tweak, but this is an ambitious touring musical that more than holds its own against the productions that preceded it.

I live in hope that one day we’ll finally get to play some of its music on Matinee. Until then, audiences across the UK are in for an absolute treat. Burlesque the Musical plays Wales Millennium Centre, Cardiff until 5 September 2026 before continuing its UK tour.

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