As inequality continues throughout the world, it’s not surprise that the rise in woke musicals continue to soar, bringing history to the modern audience through relatable mediums, while intentionally (and rightfully so) ensuring diversity is at the forefront of its casting to turn the tables on injustice. Sylvia, on its debut UK tour, is here at the right time.
The musical, with book and lyrics, directed and choreographed by Kate Prince (also co-written by Priya Parmar), explores the suffragette movement through the life of socialist Sylvia Pankhurst encompassing themes of love, family clashes, and the fight to equality. Through a powerful and eclectic score from Josh Cohen and DJ Walde, the musical is predominantly sung-through, bringing a variety of genres, with Prince inspired by hip hop writer Alonzo Westbrook, “hip hop is the artistic response to oppression”.
The cast, led by Naomi Katiyo and Beverley Knight (Emmeline Pankhurst) are vocally exquisite. Knight, as ever, commands the stage and raises the roof of Lowry with her power and soulful voice, something I will never tire of hearing, while Katiyo brings an emotional range through an agile and profound, strong layered performance.
Elsewhere, Ivano Turco brings smooth vocals to Silvio Corio, Collette Guitart as Clementine Churchill brings a textured performance with warm, intimate vocals and Kenedy Small goes against her namesake as Jennie Churchill and brings the house down with her attitude and sublime physical comedy.
The wider cast barely leave the stage, whether multi-rolling, adapting Ben Stones’ sparce monochromatic set – which is dynamically splashed with Natasha Chivers and Hector Murray’s lighting design with support from Andrzej Goulding’s video and animation, or executing Prince’s innovative and bold choreography that truly is storytelling through dance, bringing moments of power, fight and emotion to strengthen the narrative.
Where the production occasionally can falter is finding the sweet spot between ensuring diction is understood versus lacking intonation, particularly during less emotive and narrative driven scenes which occasionally finds characters lost in place of getting through the dialogue, as impressive as the lyrical speed is- something its counterparts do effortlessly i.e. Hamilton.
That being said, Sylvia’s themes are as relevant today as a century ago. Personal sacrifice, political activism and themes of class and injustice continue to haunt the population, and in a world of inequality, be more Sylvia.
Sylvia plays at Lowry until Saturday 24th October. Further information and booking details can be found here.
Tickets received in exchange for an honest review. #AD
Photography by Tristram Kenton.
