‘Burlesque is big. Burlesque is beautiful…’

So proclaims Steven Antin’s glitzy stage adaptation of his own modestly successful Cher and Christina Aguilera 2010 flick of the same name.

But is it any good?

Anyone with half an interest in the musical theatre scene will likely know that this stage adaptation of Burlesque has been on a… journey, since its debut at the Manchester Opera House a couple of summers back. Reports of last-minute production snags, rotating (and departing) talent and other mishaps have perhaps unfairly turned it into something of a social media whipping boy. Some influencers and critics even seem to have cut their teeth on lambasting all things associated with this production.

Given its trajectory to Birmingham, where it opens at the Alexandra Theatre for a fortnight’s engagement this week, has Antin’s production survived the bumpy, post-Todrick road, or is it indeed the flaming Hindenburg that some have decried it as?

Getting the obvious out of the way, Burlesque is in many places almost screamingly derivative. Songs and set pieces throughout can feel like vignette homages to the likes of Chicago, Moulin Rouge and other such favourites of the same ilk. A late reprise on one of the show’s signature numbers (‘Welcome to Burlesque’), for example, is almost a facsimile of Rouge’s ‘Tango de Roxanne’.

Fans of the film will find a mostly faithful transplant of its story here, too, although the core tale of young Ali’s (Gracie O’Brien) voyage into the ‘world few know about’ does at least have a little more meat on its bones here. Even if her new journey to find her long-lost mom – Faye Brooks no-nonsense, feisty proprietor of the titular bar – is hardly original. You’ll likely be gnashing your jaw after her umpteenth attempt to just tell her who she is.

“Burlesque certainly isn’t afraid to go that bit camper, steamier and, as Aguilera herself would croon, dirtier.”

And yet, unlike many of its contemporaries (including some of those it lovingly riffs on), Burlesque certainly isn’t afraid to go that bit camper, steamier and, as Aguilera herself would croon, dirtier.

It’s a sexy, sassy beast, with a fantastic company selling every strut, swirl and even occasional moment of silliness found in Robin Antin and Aaron Renfree’s kinetic and sultry choreo. Marco Marco’s terrific costumes only heighten a world that is somehow both bawdy yet elegant at once.

And crucially, Burlesque plants its tongue firmly in its cheek from the off, and keeps it there throughout, even if a couple of the moments of tonal whiplash can jar – such as a bizarre boyband moment that is, if nothing else, bemusing in its randomness and winningly performed by a game Tyler David and pals. Likewise, intermittent performances from the various artists of the bar encapsulate much of the show’s overall ethos – energetic, random, brilliantly performed and frequently both silly and sexy at once.

Yet even in its more derivative or bizarre moments, Burlesque never fails to relish in its extravagance.

And what extravagance it is. Bar a couple of questionable moments of lyrics popping up on screen like a hyperactive throwback to MTV, Sara Perks and Duncan McLean’s staging is a visceral, bombastic spectacle which few other touring productions can compete with. Likewise, Marco Marco’s costumes are a treat.

But perhaps even bigger and showier than the ‘if less is more, think how much more more is’ approach to its visuals and choreo, are the central performances that really elevate Burlesque into something a visit.

Corrie, Strictly and musical theatre favourite Faye Brooks, who served up an impressive Roxie Hart in the most recent UK tour of Chicago, is a steely Tess with fleeting hints of world-weariness. She gives great vocals, including a rousing introductory number that offers shades of Velma Kelly and Fosse, and thankfully gets a little more nuance and shade in the second Act in particular. Some of the writing afforded her confidante and second-in-command, Sean, is, like much of the show, a little on-the-nose and almost feels pulled from a challenge in RuPaul’s Drag Race (the shadow of Todrick Hall lingering…), but Ryan Carter is superb in the role, and again belts for the back seats.

Vanessa Ela Young is tremendous as the bar’s current performing grand dame – sultry, commanding and utterly ruthless. Young commands the stage and completely sells her diva’s sense of authority and entitlement; a great supporting turn.

“The real revelation, in fitting ‘a star is born’ (another clear influence) fashion, though, is Gracie O’Brien, who dazzles as she slips almost effortlessly into Aguilera’s shoes, corset and lungs…”

Davide Fienauri knows exactly what to do with his monologuing, almost moustache-twirling baddie, and vamps him up to the max. Contrarily, Tyler Davis takes Cam Gigandet’s brooding, cookie-cutter love interest from the film and turns him into a quirkier, goofier and more interesting figure. That comical striptease scene also makes an hilarious, extended return, with Davis going for broke. Indeed, much of the slow-burn between Davis’ Jack and O’Brien’s Ali feels authentic and sweet – even if one early duet has them needlessly spinning around like a pair of malfunctioning electronic whisks.

The real revelation, in fitting A Star Is Born (another clear influence) fashion, though, is Gracie O’Brien, who dazzles as she slips almost effortlessly into Aguilera’s shoes, corset and lungs as Ali. A staggeringly confident debut, not only does she roar and belt with the confidence and cadence that is signature to Aguilera, she also proves a formidable actress. Again, much of the writing and conflict she’s given is hardly stuff that will trouble Chekov, but it’s a barnstorming arrival and a leading turn that firmly places her as a major talent to watch.

With showstopping performances, outstanding vocals and West End-worthy levels of spectacle, Burlesque is a welcome surprise and a confident, barnstorming breath of musical theatre fresh air. It is derivative, silly and camp as all Christmases, and yet so too is it sexy (the ensemble alone deserve an extra star), flamboyant and irrepressible. Never taking itself too seriously, Birmingham has an opulent, ridiculous and, yes, often ridiculously entertaining answer to that age old instruction…

Show me how you Burlesque.