SYLVIA, the latest musical to open in London, takes what might be described as a Hamilton all-black approach to the suffragette movement in the UK from 1903 to 1928, when finally, everybody over 21 got the vote – except that is for four million working class women.
There are references to the beating up by the police and the force-feeding of women. The death of Emily Davison at Epsom Races is mimed.
Kate Prince directs and choreographs. Prince also wrote the book with Priya Parmar and the lyrics. The music – hip hop, funk and soul – is by Josh Cohen and D J Walde. The rousing final number, Stand Up! Rise Up! had the audience on its feet.
Sylvia is Sylvia Pankhurst, daughter of Emeline Pankhurst, founder of the suffragette movement. The musical concentrates on their troubled relationship, a Conservative/Labour divide. Sharon Rose and Beverley Knight in the two roles are a formidable single and double act.
Emeline favours violence. Sylvia is a pacifist. Emeline only wanted some women to get the vote. Sylvia wanted all women to get the vote. Emeline comes across as an extremely unpleasant and unsympathetic person. Sylvia, who has a friendship with Labour Leader Keir Hardie (Alex Gaumond), is much more likeable. Her relationship with her Italian lover is underdeveloped.
Home Secretary Winston Churchill (Jay Perry), who hates suffragettes, is played for comedy, especially in his scenes with his mother and his wife who treat him like a little boy.
Sylvia, sung-through, lasts 2 hours 30 minutes, including interval, which is far too long and becomes exhausting. Kate Prince’s production, however, is notable for its vocal power and physical energy. The cast is extremely well-drilled. The choreography, the movement, the music and the singing give a lot of pleasure. It’s a pity the lyrics are not always audible.
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