Review: Sylvia at the Old Vic Theatre, London

I’m aware that I am very delayed in getting this review out. Unfortunately I’ve been utterly snowed under with client work this week, and much as I love writing these reviews, they have to take second place to the things that pay my bills. (If any editors are in the market for a theatre reviewer and wants to give me actual money to do this, though, I’m listening!)

Anyway, without further ado, let’s talk about Sylvia. This show, which was presented as a “work in progress” in 2018 to mixed reviews, is back in its complete form at London’s Old Vic theatre. It features a book by Kate Prince with Priya Parmar, music by Josh Cohen and DJ Walde, and lyrics also by Prince.

What’s it about?

At the end of the 19th and start of the 20th century, the Women’s Social and Political Union—led by Emmeline Pankhurst, alongside her daughters Christabel and Sylvia—fights for women’s right to vote. As the suffragettes and their cause are met with hostility, misogyny, and violence, their tactics become more militant in response. Sylvia, a pacifist, objects to these tactics. She is also against other WSPU strategies, particularly the decision not to prioritise seeking the vote for working class women.

Sylvia tells the story of a Pankhurst woman who is less well-known than her mother and sister, but who was no less influential, and how her family was torn apart by their political differences.

Any content notes?

Sylvia is recommended for ages 12+

From the Old Vic’s content warnings section: this show contains some strong language, depiction of force feeding and references to violence in particular violence against women and police brutality.

Sylvia: My Review

It is probably inevitable at this point that any hip hop musical is going to be compared to Hamilton. In Sylvia, though, the parallels are more obvious than most. With a fusion of musical styles including rap, hip-hop, R&B, soul and funk alongside the influences of traditional musical theatre, as well as the casting of people of colour in the roles of white historical figures, Sylvia brings an important piece of British women’s history to life.

Sharon Rose, who has previously played Eliza Hamilton, stars as Sylvia. Her portrayal is heartfelt and tremendously likeable, and her vocals are electrifying. Rose does a wonderful job of bringing to life an idealistic woman torn between the love of her family and her political goals and beliefs.

The legendary Beverley Knight (who I also saw as Deloris Van Cartier in last summer’s revival of Sister Act at the Hammersmith Apollo) plays Emmeline Pankhurst, a role that give her incomparable voice plenty of opportunities to shine. Together, Knight and Rose are vocal and theatrical dynamite, their tumultuous relationship and vicious falling-out forming the emotional heart of the production.

Sharon Rose and Beverley Knight with some of the company of Sylvia. Photo: Manuel Harlan

Alex Gaumond is enjoyable and endearing as Keir Hardie, Ellena Vincent is excellent though perhaps a little underused as Christabel Pankhurst (I really wanted more of her relationship with Annie Kenney, played by Kate Ivory Jordan), and Jade Hackett is a scene-stealing delight as Lady Jennie Churchill.

With varying musical styles on offer but a fairly cohesive overall sound, Sylvia offers up an array of memorable songs from the tongue-in-cheek “Suffrajitsu” to the scorched-earth fight depicted in “You’ve Changed”. Inevitably, some numbers are strong while others are more forgettable (though still catchy - “Sylvia, Silvio”, probably the weakest song in the entire show, is still annoyingly stuck in my head over a week later.)

Ben Stones’ set and costumes, which make use of a monochromatic colour palette with splashes of red in key places, are striking. The choreography is dynamic and performed impeccably by a large ensemble that never puts a foot wrong.

Sharon Rose and Sweeney (Silvio Corio) in Sylvia. Photo: Manuel Harlan

There were moments I felt this show was trying to cram too much into its two-and-a-half-hour runtime, and other times that things felt rushed. Though the side-plot about Winston Churchill’s home life and diagreements over women’s suffrage with his wife and mother was entertaining enough, it filled too many valuable minutes that could have been better utilised elsewhere. Meanwhile, I would have loved more to be made of the tragic death of Emily Davison, played far too briefly by Kimmy Edwards in a scene that showcased Andrzej Goulding’s video design at its breathtaking best.

The cast of Sylvia. Photo: Manuel Harlan

Sylvia isn’t perfect, and I don’t believe it’s a serious contender as a rival to Hamilton despite the obvious comparisons. But it is ambitious, beautifully sung, and enjoyable to watch.

Where to get tickets

Sylvia is running at the Old Vic until 8 April 2023. Tickets are available from the venue or from reputable London theatre vendors.