Birmingham Hippodrome- until 10 October 2026
Reviewed by Emma Millward
5*****
Sylvia has arrived at Birmingham Hippodrome with a bang. With book by director and lyricist Kate Prince and Priya Parmar and music by Josh Cohen and DJ Walde, this vibrant musical brings the story of Sylvia Pankhurst and the suffragette movement to the stage through a striking combination of music and storytelling.
Naomi Katiyo is excellent in the title role, capturing the personal conflicts that arise as she develops her own political beliefs that the suffragettes should fight for the rights of everybody, not just women. Beverley Knight is equally impressive, reprising her Olivier Award-winning role as Emmeline Pankhurst. The chemistry between the two leading ladies is apparent from the first scene, and their vocals are incredible to witness live.
The music within the show is often unexpected, covering many styles including funk, hip hop and soul, and comparisons to Hamilton are inevitable. ‘March Women March’ and ‘Suffrajitsu’ were my musical highlights, showcasing the production’s ability to combine contemporary musical styles with its historical setting. Kate Prince’s choreography was crisp and precise throughout. This is particularly effective during the fighting sequences, where the sharp timing and controlled movement create real theatrical impact.
The production finds plenty of humour in its comic portrayals of well-known historical figures. Castell Parker is particularly entertaining as Winston Churchill, while Kenedy Small steals every scene as his mother, Jennie Churchill, bursting onto the stage singing over a drum and bass-infused beat. Collette Guitart as Clementine Churchill comically puts the men around her in their place while still standing by her husband. Ebony Clarke as Emily Davison captures her determination and eccentricity before her increasingly ill-fated campaign takes a much darker turn. Ivano Turco is delightful as Silvio Corio, with his relationship with Sylvia explored through the soulful song ‘Sylvia, Silvio’, which brings a more intimate side to Sylvia’s story.
Visually, Sylvia takes a darker approach. The set, designed by Ben Stones, makes effective use of movable boxes. A large screen forms the back wall, providing changing imagery that adds atmosphere while also helping with narration. Natasha Chivers and Hector Murray’s lighting complements this effectively, while Andrzej Goulding’s video and animation give the production a cinematic quality. The instantly recognisable suffragette costume design, also by Ben Stones, works particularly well against the darker set.
The auditorium was certainly lively, with the ladies sitting behind me responding with laughter, cheers and whoops throughout the performance. Rather than detracting from the experience, their enthusiasm added to the infectious atmosphere in the theatre and was a clear indication of just how much fun people were having with the production.
If there is one area where Sylvia could be possibly be tightened, it is the running time. At around two hours and fifty minutes including the interval, there are moments when it begins to feel slightly stretched. That said, this is a relatively minor criticism of a production that delivers on almost every other level. With outstanding vocals, precise choreography, striking visuals and a cheeky sense of humour, Sylvia succeeds in making its historical subject feel accessible and thought-provoking.
Powerful and thoroughly entertaining