Todrick Hall: “If people come away from the process of putting on a musical feeling traumatised, then I don’t think it’s worth it.”

When I reached out to Todrick Hall, I was struck by how many confusing and frequently still-unresolved twists and turns there have been. What in the name of sanity? 

Let’s be clear: the stuff that actually was occurring and public was wild enough. 

And so, a YouTuber, rapper, Broadway star — and now also, the self-proclaimed unsung hero of Burlesque The Musical, based on the 2010 film written and directed by Steven Antin.

That’s the story Hall tells about his tumultuous journey with the troubled production, one that’s left him feeling “used,” “erased,” and in a protracted fight for a “life-changing” sum in unpaid royalties.

We are talking on the telephone ahead of the show’s return at Marble Arch this Autumn. Hall was the musical’s driving creative force, penning eighteen and a half of its daunting 25 songs (plus reprises), playing Sean, and taking over as director and choreographer from Nick Winston. The production churned through creative teams — sets, costumes, lighting, all replaced — but Hall remained its constant. 

Until he wasn’t. Flash-forward six months, Hall discovered he’d been cut from the show’s new iteration not from the producers, but via Instagram, during London rehearsals for his own musical Midnight. “It felt like a slap in the face,” he declares. “There’s no way to deny that my gift has had a huge impact on the show. I felt a little bit used because now they’re going to cherry pick parts of my talent to use in this new version.”

We are two minutes into a conversation about his experiences. Behind the scenes, it was a chaotic ride. During previews at the Savoy, actors’ union Equity intervened over unspecified “issues.”Rumours swirled of cast members dashing to Primark to buy wigs because costumes weren’t ready — a tale Hall laughingly dismisses. “That Primark story is iconic,” he chuckles. “If people were going to Primark, it was to get socks. Unfortunately, it is not true,” he adds. 

Amazing indeed.

For pretty much everyone else, following the ins and outs of this musical is one of gathering chaos and rising disbelief. Jokes aside, he says he poured his heart into the show – one with significant structural and creative issues: “My experience with Burlesque has been quite the rollercoaster. I treated that show as if it were my own child,” Hall says. “I understood how passionate the producer was — I did not ever want to disappoint him or myself. I was willing to do everything to make sure we had a show on stage. But it was really difficult.”

Then there are the royalties. Hall alleges he’s owed a sum he describes as “life-changing” (rumoured to be £100,000) for his work as director, choreographer, and songwriter. “My DNA is still in that show,” he asserts. The producers’ response when he’s tried to collect? “That has been tricky,” he admits. “I do genuinely believe that someday soon I will get that money; we are in conversation. I’m fine with waiting because I believe it is going to come.”

Elsewhere, a peek into TR Heels Ltd’s accounts, the company behind Burlesque, reveals a financial house of cards. Net liabilities skyrocketed from £5.87 million to £9.44 million in just one year. Trade creditors are knocking, owed £9.52 million, while cash reserves sit at a paltry £67,499. Yet, TR Heels has handed out over £800,000 in interest-free loans to other productions under the same leadership. 

Meanwhile, Burlesque on Stage Limited conjured up a £80,000 fixed asset from thin air, no paper trail in sight. Simultaneously, its current assets and creditors mysteriously quadrupled. For a show already grappling with a revolving door of creatives, these fiscal smokescreens add an ominous layer to the off-stage drama. The most riveting numbers in this production might just be on its balance sheets.

And I can reveal that Antin’s script control provisions are allegedly a masterpiece of paranoia — every script must be watermarked, numbered, colour-coded, printed only by Antin, distributed only by Antin, breathed upon only by Antin, and apparently blessed by Antin before it may exist in the physical universe.

Hall has described his relationship with Antin, the show’s writer and co-producer, as “difficult,” alleging he was treated unfairly. “Listen, Steve kindly congratulated me on my show Midnight. Ultimately, he has the money and you need it — and if you don’t have the stamina, you just concede. His life perspective is very different from mine, so I allow some grace.” 

The crux of their clash, in Hall’s telling: credit. “I respect Steve. He is from a different era though. My experience with burlesque has been quite the rollercoaster. I do believe they’re going to pay me, but if you’re asking me now whether I have received the money I am owed, I haven’t.”

“There’s a lot of nuance, because the contract has not been signed. But I don’t plan on signing that contract until only the people’s names who had to do with writing the songs are [credited] with writing the songs.”

“For aeons, throughout history, white people have taken credit for work black people did. Straight people have taken credit for work queer people did. I am both of those – I’m a double minority, and I’m proud of that. But I am fundamentally against someone saying they wrote music that they didn’t write. I don’t want someone’s name on music that I wrote who did not write that music.” 

“I have respect for Steve Antin because I believe he has a level of passion that I think is rare in this industry. He is adamant and protective over every single detail of his show, and I find that admirable,” says Hall.

Through it all, Hall kept the brief Savoy run afloat — at times, he jokes, singlehandedly. “During the West End run, my character stated that his back was sore ‘from carrying the show.’ No matter what version of Burlesque they get to, they wouldn’t have got there without me. I have more music in that show than anyone.”

He continues: “If I get my royalties, I will be happy as a bird and I will be cheering the new casts on. There’s a chance that someday I will play Sean again; I loved that character. I do want there to be a world where if the show were to come to Broadway, I would participate in it.”

But that chapter of his career has closed, and a new one’s begun with Midnight. “When you’re working with people and you don’t share artistic visions, there is always going to be friction,” he reflects. With Midnight, he promises something “baked with love” that will sweep audiences away. “It’s an American story, and I am excited New York is going to get to see it.”

“We’re making art here at the end of the day,” he adds. “If people come away from the process of putting on a musical feeling traumatised, then I don’t think it’s worth it. There’s already so many awful things going on in the world — musical theatre should not be one of them.”

• NOV 2023

ANNOUNCEMENT

Manchester production announced — creative team assembled

Directed and choreographed by Nick Winston. Produced by Adam Paulden, Sue Gilad & Larry Rogowsky, Steven Antin and Christina Aguilera. Sets by Soutra Gilmour; costumes by Ryan Dawson Laight. Audiences enjoy the show — but reports of “total chaos” behind the scenes begin to circulate.

• MAR 2025

WEST END

West End run announced — overhauled creative team revealed

Version 2.0 brings new music by Todrick Hall and Jess Foley, with additional material by Kate Wetherhead. New producers include Jason Haigh-Ellery and Clint Culpepper alongside the original team.

• 15 JUL 2025

EQUITY DISPUTE

Performers’ union Equity steps in ahead of opening

Equity confirms it is “engaging with both members and the producers over a number of issues.” Director and choreographer Nick Winston has been replaced mid-process by cast member and co-writer Todrick Hall — one of several significant creative team changes in the run-up to opening. Producers decline to comment.

• JUN 2025

CELEBRITY SHADE

Diane Warren fires warning shot — before the show has even opened

During the preview period, Oscar-nominated songwriter Diane Warren — who wrote You Haven’t Seen the Last of Me for Cher’s character in the original film — posts on Instagram flagging that her song has been cut and the show is now only “lightly inspired” by the movie. She tags Cher. The post is subsequently deleted.

“So it appears Burlesque is no longer an adaptation and more lightly inspired by the movie… The cast who didn’t move from Manchester with the show have had a very lucky escape. Cutting ‘You Haven’t Seen the Last of Me’ though? These reviews are going to be very telling.”

• 22 JUL 2025

OPENING NIGHT

Burlesque opens at the Savoy — and confounds expectations

Most critics, braced for a flop, are pleasantly surprised — awarding three or four stars. The Guardian and LondonTheatre go further, giving five stars and singling out Jess Foley’s central performance as “sensational.” TimeOut remains disappointed. Warren’s warning goes largely unreported.

• 28 JUL 2025

FALLOUT

Todrick Hall speaks out about “bullying” — takes mental health day

Writing on Instagram, Hall shares screenshots from online forums speculating about problems on the show. “Imagine waking up every day and reading these comments from strangers… then having to go on stage night after night, smile and try to perform.” He attends Evita and The Curious Case of Benjamin Button on his day off.

• 1 AUG 2025

FINANCE

Producers take out emergency loan — £6m debt disclosed

Companies House filings for TR Heels Ltd reveal creditors are owed £6.42m. The production has separately taken a debenture — a loan secured against assets — from Finstock Capital, a firm specialising in “short-term financial solutions.” Producer Adam Paulden’s company Adama Entertainment received £304,700 in fixed fees and £11,119 in royalties.

• SEP 2025

EXPANSION

Japanese production announced via Instagram

Producers announce plans to bring Burlesque to Japan.

• SEP 2025

CO-PRODUCER CONVICTED

Listed co-producer sentenced for Covid grant fraud

Suzanne Gilad — listed as a co-producer of the UK production — is sentenced in Brooklyn for fraudulently obtaining more than $69,000 in Covid-19 small business recovery grants by filing falsified records. Brooklyn DA Eric Gonzalez states she “took advantage of a public health crisis by falsifying records to secure government aid that was meant to keep struggling small businesses afloat.”

• JAN 2026

COLLAPSE

Japanese production cancelled

Four months after the announcement, the Japan run is quietly shelved.

• FEB 2026

PIVOT

Producers launch crowdfunding platform for theatre

Adam Paulden and new partner Jonathan Newman launch StageLight — an “all-or-nothing” seven-day crowdfunding model for stage productions. Contributors receive experiences (opening night tickets, backstage access, meet-and-greets) rather than financial returns. The pair cite the “challenging theatre landscape” as motivation.

• MAR 2026

SACKING

Todrick Hall dropped — and finds out via Instagram

A rebooted production is announced with Hall erased from the credits and promotional materials. He tells podcaster Mickey Jo that he learned of his dismissal from social media, not from the producers.

• JUN 2026

THIRD DIRECTOR

Racky Plews appointed — third director in two years

Plews, whose credits include I’m Every Woman: The Chaka Khan Musical, will helm a new pop-up production at Marble Arch and a subsequent tour. Producers Antin and Paulden frame the appointment as a deliberate shift: “We believe this story would ultimately benefit from a woman’s perspective.” The retooled production has yet to launch.