Beverley Knight and Naomi Katiyo in Sylvia at Curve Leicester and Touring. Picture: Tristram Kenton
Sylvia was reviewed at Curve Leicester. The tour continues until 15 November 2026, including a run at the Royal Albert Hall, London from 13-15 November 2026.
Star rating: four stars ★ ★ ★ ★ ✩
The musical Sylvia has returned to our stages on a UK tour, showing the same amount of fierce drive and determination as its eponymous heroine in her fight for women’s equality. After an initial ‘work in progress’ production in 2018, and well-received run at The Old Vic in 2023, the show is back once again, reworked and reinvigorated, and ready once again to tell the true story of the pioneering Pankhurst women who led the Suffragette movement.
Spanning the first 30 years of the 20th century, Sylvia takes us on the Pankhurst family’s journey as they fight political oppression and patriarchal misogyny in their quest for equal rights for women and allowing them to vote.
Spearheaded by mother Emmeline (Beverley Knight), the mission sees daughters Sylvia (Naomi Kitayo), Christabel (Ellena Vincent) and Adela (Kirstie Skivington) on the frontline of protests as they try to make their voices heard, eventually gaining the support of Keir Hardie (Tachia Newall), a founder and first parliamentary leader of the Labour Party, and forming the WSPU (Women’s Social and Political Union).
As the years pass, progress is slow to take hold, and Emmeline and Sylvia begin to clash over their favoured approaches to victory, fracturing the family unit and leading to Sylvia’s expulsion from the WSPU as she forges her own path.
Brimming with renewed confidence on its third outing, Sylvia isn’t pulling any punches. It makes a strong impression from a gutsy, dynamic opening that sets a propulsive tone which continues to drive the show. Within the first few minutes, inevitable comparisons with Hamilton begin to surface, and the looming shadow of Lin-Manuel Miranda’s groundbreaking juggernaut looms large over the rest of the show. This isn’t to say it’s a copycat or a wannabe ‘rip-off’ in any way, but it tows such a similar line that it often struggles to break free of those chains and become its own animal.
Musically, Josh Cohen and DJ Walde’s score roots Sylvia more in soul and funk than hip-hop, although when rap does creep in, the lyrics do lack the grace and wit of Miranda’s creation and don’t share its natural sense of rhythm. There are also a lot of songs, perhaps too many (especially with new additions in this latest version), with more individuality needed to distinguish them from each other and relay the narrative in a clearer way.
Sylvia is the brainchild of choreographer Kate Prince, who also wrote the book (and lyrics) for the show along with directing it and contributing to its music. Following its power-punch opening, the show’s first act feels a little overlong and suffers from pacing issues. It’s in danger of delivering too much of the same ongoing style which begins to feel a little relentless.
The second half feels more rounded and varied with clearer storytelling as the plot begins to drive things more effectively. Prince’s vision for the show itself is stunning (helped by stark contrasting costumes and sets by Ben Stones, powerful lighting by Natasha Chivers and Hector Murray, and fantastic video and animation by Andrzej Goulding).
Prince also clearly excels at choreography, and this remains the show’s absolute strength, being exhilarating, intricate and bold, delivered phenomenally by what must be one of the hardest working ensemble casts working on the country’s stages right now; they rarely stop for breath, working as one and being probably the most strikingly memorable element of the production.
Leading the cast is the powerhouse that is Knight, and once again she proves she is a force to be reckoned with. Returning to the role that won her an Olivier, she is a formidable presence that dominates the stage before blowing the roof off the building with that iconic voice.
Kitayo is also exceptional as Sylvia, leading the show once she steps out on her own, and delivering a truly heartfelt performance. Equally excellent whether she’s acting, rapping or singing, it’s a star turn, and reaches its peak during a vocal battle with Knight which is nothing short of exhilarating. Strong support also comes from returning players Vincent and Kirstie Skivington as the other Pankhurst sisters, along with Ivano Turco as the soulful Silvio.
Sylvia’s third outing is its strongest yet, and while it still needs a little bit of work to fix issues around pacing and narrative balance, it’s an important story told with vibrancy and self-assurance with standout performances and stunning visuals. We should never forget what’s gone before us in the search for equality, and Sylvia celebrates the strength of the revolutionary women who changed the world forever.
Rob Bartley
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