Bold, breathtaking and bursting with talent, Burlesque is a vocal and visual spectacle that demands to be seen.
Burlesque the Musical has arrived at the King’s Theatre, Glasgow, and it certainly has not done so quietly. This is a huge, high-energy production filled with powerhouse vocals, breathtaking choreography and genuinely spectacular technical elements. From the moment the show begins, it throws everything it has at the audience and, for the most part, it really works.
Based on the 2010 film starring Christina Aguilera and Cher, the musical follows Ali Rose, a talented young woman who leaves her small-town life behind and travels to New York in search of her mother. Her journey leads her to a struggling burlesque club, where she discovers a new family, begins to find her place and finally gets the opportunity to show everyone what she can do.
The storyline is relatively simple and occasionally feels secondary to the next big musical number, but this does not take away from the overall experience. Burlesque knows exactly what kind of show it wants to be. It is bold, glamorous and completely over the top—and that is precisely where its strength lies.
The vocals throughout this production are outstanding. This is an incredibly demanding score, packed with huge numbers that require power, control and stamina, and the cast deliver them brilliantly. Every time it seems as though the show has reached its vocal peak, another performer steps forward and somehow raises the bar again. The sound produced by the company, both individually and together, is phenomenal and there are several moments when you can feel the audience collectively holding its breath.
Faye Brookes brings confidence, warmth and glamour to Tess, the owner of the club, while Ryan Carter is wonderfully charismatic as Sean and Ms Loretta. Vanessa Ela Young gives a strong and memorable performance as Nikki, and both Tyler Davis and Davide Fienauri add to an extremely talented principal cast. There is not a weak vocalist among them.
However, the standout performance of the evening comes from Gracie O’Brien as Ali Rose. Astonishingly, this is O’Brien’s professional stage debut, although you would never know it from watching her. From her first appearance, she has a natural warmth and presence that makes Ali immediately likeable, but it is when she begins to sing that she becomes truly unforgettable.
O’Brien’s voice is exceptional. She has the power required to take on songs so closely associated with Christina Aguilera, but she never feels as though she is simply trying to imitate her. Instead, she makes the role and the music her own. Her vocals are rich, controlled and seemingly effortless, even during the most demanding moments of the show. She also brings a vulnerability to Ali that prevents the character from becoming lost within the sheer scale of the production. This is a remarkable debut and a genuine star-making performance.
The choreography is just as impressive as the singing. The ensemble perform with incredible precision, confidence and energy, making even the most technically demanding routines look effortless. Every formation is sharp, every movement has purpose and the cast maintain an extraordinary level of intensity throughout the entire production.
There is so much happening onstage during the larger numbers that it can be difficult to know where to look. However, it never feels untidy or uncontrolled. The entire company works together as one, and there is a confidence to the movement that allows the production to feel exciting without becoming chaotic. The dancers do not simply support the principal performers; they are an essential part of what makes the show so thrilling.
The technical side of Burlesque also deserves special recognition. This is a very tech-heavy production, and the scale and precision involved are seriously impressive. The lighting is spectacular, using colour, tightly focused spotlights and dramatic changes to transform the stage throughout the show. At times it feels more like being at a major live concert than watching a touring musical—and I mean that as a huge compliment.
The lighting works particularly well alongside the choreography. It frames the dancers, highlights individual moments and gives every musical number its own identity. Combined with the video design, sound, moving scenery and lavish costumes, it creates a production that feels polished, expensive and visually exciting. There is an enormous amount happening behind the scenes, but it all comes together seamlessly. The technical elements never distract from the performers; instead, they enhance everything taking place onstage.
What makes this production so enjoyable is the commitment of the entire company. Vocally, physically and technically, nobody gives less than 100%. The energy never drops, and by the finale the atmosphere inside the King’s Theatre is electric.
In short, Burlesque the Musical is bold, glamorous and gloriously excessive. The story may not be the most complex, but with phenomenal vocals, outstanding choreography and some of the most spectacular lighting and technical design I have seen in a touring production, it delivers an unforgettable night at the theatre. Gracie O’Brien is an absolute revelation as Ali Rose, and I have no doubt that this is only the beginning of a very exciting career.
Burlesque the Musical runs at the King’s Theatre, Glasgow, until Saturday 19 September 2026.