Messages of social injustice, electrifying vocals, high energy: Sylvia had the makings of an entirely moving yet educational performance. But it didn’t feel quite complete.
Set in the time of the Suffragettes fight for women’s right to vote in 1903-1928, Sylvia (directed and choreographed by Kate Prince) centres its narrative around Sylvia Pankhurst, one of Emmeline Pankhurst’s free-spirited and socialist minded children. It highlights relationships and intimacy within the Pankhurst family that led to alternative strands of intersectional feminist thinking, ultimately winning all women the right to vote in 1928. This musical begins to humanise these historical figures into real life women who suffered insurmountable hardship to help create the society we live in today. Its musical rendition of pivotal moments in history is sure to provoke a breadth of emotions and at the very least get you boogying in your seat!
The vocal prowess of the entire cast was nothing short of extraordinary. There is no question as to why Beverly Knight (Emmeline) and Naomi Katiyo (Sylvia) were chosen to star but, in the case of some of the second half songs, I felt even their vocals made it feel ever so slightly repetitive. A unique and explosive mixture of rap, funk, and high notes grabbed the audience’s attention throughout Act One, reaching an emotional climax during one of the standout songs in the performance ‘Be The Change’, at the time of The Conciliation Bill of 1910. The high intensity before the interval left me feeling a strong sense of momentum as the women began their march into the next 17 years of their fight for the vote.
However, it felt as if the surprise element of bursts of rapping and funky backed songs lost some of its lustre as Act Two jumped too quickly through the next 17 years. It began to feel slightly ‘gimmick-y’ with songs such as, ‘Suffrajitsu’ smothering the powerful themes and messages behind them. That is not to say Act Two was without its triumphs. Dark themes surrounding The Cat and Mouse Act of 1913 were artfully approached and successful in delivering harrowing messages regarding the Suffragette’s hunger strike. It is commendable that comedy was derived from the historical retelling of events. But in some places I felt as if Sylvia foregrounded the need for light-hearted entertainment
over the emotional intensity of its historical context.
Sylvia is playing at Festival Theatre until 17 October. You can buy your tickets here.
Image provided to the Student by Tristram Kenton on behalf of Capital Theatres as press material
