Fresh from its acclaimed run at London’s Old Vic and following its triumph as Best New Musical at the Black British Theatre Awards, Sylvia: A Musical Revolution arrives at Leicester’s Curve Theatre carrying all the urgency, energy and innovation that has made it one of the most talked-about musicals of recent years. At the center of this radical retelling of the women’s suffrage movement stands Beverley Knight MBE, reprising her Olivier Award-winning performance as Emmeline Pankhurst. Catching up with her between rehearsals, Knight radiates warmth, greeting me with bright eyes, a luminous smile and a palpable zest for both the role and the story she is helping bring to life for audiences across the UK.
A Revolutionary Spirit
For Knight, the spirit of militancy championed by Emmeline Pankhurst is not about confrontation for its own sake. Instead, she reflected on a lifetime of refusing to accept limitations and expectations imposed by others. Her own form of everyday activism, she explained, lies in showing up, excelling and challenging efforts to typecast her by continually breaking barriers and always staying, in her words, “10 toes down”.
Throughout her career, she has consistently pushed back against attempts to define what she can or cannot do because she is Black and because she is a woman. Unapologetically committed to opposing suppression, rejection or underestimation, that determination is central to her journey, whether carving out a groundbreaking singing career or stepping onto the West End stage. Reflecting on Sylvia, she recalls being questioned about her casting and ‘why a Black woman was portraying a historical white figure?’. Yet, as she observed, this is a production that reimagines history through contemporary forms of music and dance, blending hip-hop, soul and modern movement with historical storytelling. The show itself embraces rebellion, and its casting embodies that same essence.
Rooted in Identity, Powered by Empathy
Knight’s British Jamaican heritage and Wolverhampton upbringing continue to shape every role she inhabits. She spoke with pride about her identity as a Black British woman and about the musical influences that surrounded her from childhood. Growing up in multicultural Wolverhampton also instilled something equally important: an understanding of shared humanity. While cultures, faiths and backgrounds may differ, she emphasised that ‘People are often united by common struggles, aspirations and emotions’. For Knight, theatre at its best broadens perspectives rather than narrowing them. She is propelled by a desire to tell stories through multiple lenses and ensuring that ‘women’s experiences are seen, heard and preserved’. It is one of the reasons Sylvia resonates so strongly with her. Far from viewing the suffragettes as distant historical figures, she believes their fight is alarmingly relevant. The struggle for equality, she suggested, is not a completed chapter but an ongoing conversation, making the themes of the musical as urgent today as they were over a century ago.
The Women Who Lit the Way
When discussing the women who inspired her own journey, her thoughts immediately turned to home.
Her mother, grandmother and older sister are her greatest role models, and she spoke about them with immense warmth and respect. She recalls her family’s courage, their remarkable journey from Jamaica to Britain and the adversity they encountered upon arrival. Despite facing hardship and prejudice, her grandmother and mother persevered with extraordinary resilience.
Her mother went on to build a career in nursing while simultaneously caring for the home, embodying both compassion and determination. Knight reflected that whenever she is faced with obstacles in her own life, she measures them against the difficulties faced by her elders. In comparison, many of her challenges seem far less daunting.
Family, she noted, also sits at the heart of Sylvia. The musical explores the complex relationship between Emmeline and Sylvia Pankhurst, where personal, political and ideological differences threaten to fracture domestic bonds. She finds those tensions profoundly relatable, observing that families everywhere can struggle when outside pressures and internal disagreements collide. Yet she believes balance, understanding and perspective are essential.
Perhaps most touching was the affection with which she describes her sister. While sibling rivalries often dominate popular narratives, she emphasised that their relationship is built on admiration, encouragement and love.
Together, these powerful women gifted her a childhood filled with support and empowerment, laying the foundation for Knight’s pathway to success.
Representation Beyond the Spotlight
Despite her status as one of Britain’s most celebrated performers, Knight is still strikingly humble. When asked about her influence on aspiring performers of colour, she repeatedly shifted attention away from herself and toward the talented women surrounding her within Sylvia.
She highlighted the contributions of director, choreographer and co-writer Kate Prince, co-writer Priya Parmar, and fellow cast members including Naomi Katiyo, Kelly Agbowu, Ellena Vincent and Kirstie Skivington. Their collective achievements, she argued, demonstrates the importance of women occupying positions of creative leadership throughout the industry.
Representation, for Knight, cannot begin and end with casting. She stressed the importance of diversity across every stage of a production’s life, from writing and directing to design and development. True inclusion means ensuring women and people of colour are present and influential throughout the creative process rather than appearing solely in front of an audience.
Supporting others, championing talent and opening doors are simply extensions of what she loves doing. Empathy, encouragement and empowerment come naturally to her.
Dream Roles
Among her dream roles, Maria in West Side Story remains high on the list because of her enduring love for the musical. She also expressed a hankering for the role of Mrs Johnstone in Blood Brothers, drawn to its emotional depth and heartbreaking complexity. Another aspiration is to tackle the role played by Viola Davis in Doubt, a character whose impact far outweighs her screen time.
An Unstoppable Force
Behind the awards and acclaim is someone whose warmth is entirely genuine. As rehearsals intensify and opening night approaches, her down-to-earth nature shows up in the simple moments. When she talks about how the cast’s most pressing concern is deciding where everyone is going to eat, Knight’s infectious, melodic laughter rings out effortlessly. For all the accolades and achievements, it is this humanity and kindness that lingers most after spending time with her.
Looking ahead, Knight shows no sign of slowing down. With exciting film work and a host of creative projects on the horizon, she continues to embrace the future with an astonishing, energetic curiosity. For anyone interested in stories of courage and change, this production promises to be an electrifying night at Curve. Knight brings both passion and purpose to her performance, ensuring Emmeline Pankhurst emerges not as a distant historical figure but as a living reminder of the power of collective action.
And if her boundless enthusiasm is any indication, this revolution is one audiences will not want to miss.
Sylvia: A Musical Revolution opens at Curve Theatre on 24 September 2026.
