Burlesque
Sunderland Empire
21st August 2026
Invited: Ever since the tour of Burlesque was announced, I knew I had to be there to see this adaptation of the 2010 movie which starred among others Cher, Christina Aguilera, Cam Gigandet, and Stanley Tucci. Such is the cult status of this movie, theatregoers and fans alike clamoured to see how this movie would transfer to the stage.
I cannot review it without mentioning the issues that this particular production has faced including multiple cnacellations, cast illness, and technical problems that have blighted the tour’s run at Sunderland Empire but I have to say that the team have faced these challenges head on and much praise must be given to the staff at Sunderland Empire for their resilience and patient good humour.
The story of Burlesque follows wannabe singer and diner worker Ali (Macy Dermody Blythe) who moves to the bright lights to find her mother. She takes a job as a waitress in a failing burlesque bar run by the indomitable Tess (Faye Brookes) who dismisses her off hand at the start but starts to understand her value as the show progresses.
The cast of the struggling club are a colourful crew including the deliciously camp MC Sean (Ryan Carter, the celightfully ditzty twins Peaches (Freya Baddeley) and Pearl (Kizzi Pink Simpson) and a steady stream of buff and bronzed boys who dance, flex, and bedazzle even before the show has begun.
Mild-mannered bar manager, Jack (Tyler Davis) takes the new girl under her wing and gives her a place to stay much to the chagrin of currrent lead showgirl Nikki (Vanessa Ela Young). All the while Tess’s ex Vince (Davide Finauri) is plotting against her and the club.
The show opens in a dressing room in the club where the performers are applying their make up and are in varying states of undress. A show called Burlesque is not, and certainly should not, hold back on the risqué and baudy titilation – and this one does not. The opening number is loud, bright, naughty, and Carter as the MC begins as he remains throughout the consummate showman. It is a delight to see Carter in the north east having previously seen him in the wonderful production of Titanique as (no I am not kidding) the Iceberg.
There are many reasons to like this production. It does not hold back on the garish colour, a lavish over-the-top set (Sara Perks), ear splitting (at times) sound (Ben Harrison) and flickering and impressive projections (Duncan McClean.) Director (Racky Plews) along with creative director Steven Antin have produced something that it very pleasing on the eye and leant into everything that is burlesque covering scene changes with imaginative bawdy vignettes which utilise the cast’s talents wonderfully.
Every performer on that stage this evening gave of their best, Macy Dermody Blythe, stepping into the main role effortlessly and giving a superb performance this evening in the role made famous by executive producer Christina Aguilera. Brookes oozes the beating heart of Burlesque in Cher’s role of Tess and Tyler Davis is every part the leading man with or without his vest. Finauri is wonderfully wicked and when he realises he has all the cards turns from weak willed subordinate to snarling tiger on a dime.
The wow factor in this production is in the choreography and the big show numbers all of which impress. Choreographers Robin Anton and Aaron Refree have drawn on their extensive experience on both sides of the Atlantic to bring some very special moments. I particularly enjoyed the sequence which delves into the history of burleque as being stunning to watch but exemplifying their solid understanding of the art form.
The production is not without some issues. Tonight I felt the sound balance was a little off with excessive loud elements and occasionally muffled dialogue and indistinct vocals. The show may also benefit from getting going quicker as the start of the first act feels rather underwhelming and a little under-rehearsed in parts. The second half however was flawless with slicker comedy and a glorious emotional moment between Tess and Sean.
All of the music helmed by Michael Bradley was wonderfully performed by his band who surprisingly numbered only six with Gareth Lieske on keys 2, Tom Casson on percussion, Ayse Osman on bass, Tom Harrison manning the brass, and Ellie Sandbrook completing the band on just about every woodwind instrument known to man.
Burlesque is everything I wanted from this silver screen to stage adaptation. It is flashy, it is loud, it is brash. It demands attention. It saddens me that issues beyond the control of Sunderland Empire and the production company have blighted the opening run of Burlesque and as a result more people have not got to see this production.
Look out Stoke, the sequins and feather boas are on their way. I wish all of the cast, crew, creatives, and musicians good health and a fantastic run in The Potteries and for the rest of the run. You haven’t seen the last of Burleque!