Curve Theatre, Leicester – until 3 October 2026
Reviewed by Leanne Walpole
5*****
Everyone knows that the second child is the most difficult, and it seems Sylvia Pankhurst (Naomi Katiyo) was no different. This fun musical is both a historical drama and an uplifting political story; focusing on activism, equality, family loyalty, and the sacrifices involved in social change. The story follows the daughter of famous suffragette Emmeline Pankhurst (Beverley Knight) on their crusade to fight for the rights of women to vote; but with Sylvia adding the rights of the often over looked working-class women (and men) to her battle. The story tells of protests, imprisonment and hunger strikes as Sylvia is expelled from the Women’s Social and Political Union (WSPU) and creates her own social movement – which increasingly creates tension with the other Pankhurst women.
Created by Kate Prince with music by Josh Cohen and DJ Walde, the musical uses a blend of hip hop, funk, and soul rather than a traditional musical theatre score. Additionally, its songs are woven directly into the story, so many of them function as rallying cries, speeches, or emotional turning points rather than traditional stand-alone show tunes. The music, under the supervision of Sean Green, at times is loud, in your face and rousing. I found several numbers to have a similar sound, but I enjoyed them all. The harmonious undertones that leak in from the cast, sitting quietly at the back and sides of the set, add to the emotion loaded in to each one. (If only the audience could keep their incessant whooping mid number to themselves!).
Beverley Knight is, as expected, a powerhouse and it is easy to see why she was awarded an Olivier for her role as Emmeline Pankhurst. Naomi Katiyo brings a soft frustration to the role as she finds her voice to stand up for the people who are not given a voice. They are supported by a superbly talented cast who expertly slip in to the variety of additional roles in the story. Simple items of costume, (Ben Stones) seamlessly added to the monochrome base layers reflective of the era gave easy interpretation to who was who. Direction and choreography by Kate Price are outstanding, the clean and crisp movements are dazzling.
The set, again by Ben stones, complements the mainly monochromatic theme. Simple blocks move in and out to form various simple locations and podiums and effortlessly produce props to further enhance the atmosphere. This is counterparts the visually simple lighting of white washes and spotlights crafted by Natasha Chivers and Hector Murray. Projections add to the atmosphere and guide the audience to times and dates simply and effectively.
Sylvia leaves a lasting impression, reminding audiences that social progress is rarely achieved without courage, sacrifice and determination. With its compelling storytelling, electrifying score, outstanding performances and breathtaking choreography, this production succeeds in making an important chapter of history feel immediate and relevant. The popular culture quips and borrowed lines give it moments of reflection of current societal issues: similar problems but with different groups facing oppression and persecution. Entertaining, thought-provoking and deeply moving in equal measure, Sylvia is a triumphant celebration of a woman (and women) who refused to be silenced.