Sylvia at the Old Vic

In a world where the topic of what it means to be female is being debated on every platform, Sylvia comes as a welcome reminder of the struggles experienced by women in the not-so-distant past of the United Kingdom, and the fight for basic human privileges. In this context, it’s a show set against the backdrop of the first fight for the right to vote, under the tutelage of Emmeline Pankhurst, and how her daughter, Sylvia broke the mould, paving the way for votes for every woman.

Directed by Kate Prince, Sylvia is a musical revolution, bringing to life topics of old with the music of today. It is reminiscent of Hamilton in its depiction of a relatively unknown historical figure, painted against a background of rap, dance and vocal prowess. Musically, it can be jarring at times, with almost everything sung. Some of the plot exposure ends up being lost, due to fast-paced lyrics and words being fumbled. However, it sets itself apart from the masses in its celebration of the multifaceted talents of the cast.

Three characters, in particular, stand out. The first is Jennie Churchill, played by Jade Hackett – a formidable force, who manages to successfully merge the life of Churchill with the sound of UK garage: an incredible feat. There is no way one cannot enjoy her infectious energy on stage, and, though the stance she takes can be seen as problematic, through Hackett’s acting, Churchill is transformed into a benevolent antagonist. Secondly, Kelly Agbowu’s depiction of Flora “The General” Drummond and her lyrical flow throughout make for an interesting watch; her knowledge of the musical genre makes her performance seem as easy as breathing. Last, but by no means least, the titular Sylvia, played by Sharon Rose, proves to be a flawless depiction; it is a joy and a pleasure to watch someone so talented dominate the stage in every moment she appears. In particular, a song with Beverley Knight (who plays Emmeline Pankhurst), towards the end, has the audience on their feet, yearning for more.

There are times when the pacing of the show is called into question, as the audience must often try to feel something for a character who has not had much time invested in them. An example is the younger brother of Sylvia Pankhurst: the song chosen for his death almost feels too poetic for what could be considered a minor character. There are also parts in the narrative that feel slightly rushed – in fact, the entirety of the second act, though much more interesting, feels as if it is lost in a hurried haze.

One thing is certain though: this is a production that will go down in history as innovative, fresh, even downright renegade. It is a show that feels like your history teacher has just been to Notting Hill Carnival and decided to teach a lesson that sticks. Most importantly, it is a celebration of women, no matter what class, colour or creed, and the great movements of the past that paved the way for those present on the stage to even begin to tell their stories.

Natallia Pearmain

Sylvia is at the Old Vic from 27^th January until 8^th April 2023. For further information or to book visit the theatre’s website here.

Watch Beverley Knight and Sharon Rose perform You’ve Changed here: