I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL
Troubador Wembley Park
★★★½
“a vibrant celebration of Black female strength”
Legend Chaka Khan puts her story centre stage in ‘I’m Every Woman: The Chaka Khan Musical’. As jukebox biopics go, it has real strengths even if some elements are still finding their form – but that doesn’t mute the momentum of the performances or the music.
We open with Chaka Khan – born Yvette Marie Stevens – and her family in a rehab centre group therapy session. How does young Yvette become the “Queen of Funk” and how does adult Chaka untangle the emotional wreckage she gathers on the way?
Nia T. Hill’s writing does a stronger job than most biopic musicals of balancing respect with grit, offering a fitting homage to a living legend without shying away from stickier subjects – especially the impact on Khan’s family. That said, some dialogue feels a touch overwritten and Act Two needs tightening. The twist involving Marie could also use more crafting – you can spot it long before the reveal, which blunts an otherwise dramatic and visually stunning moment. Still, the piece has real teeth and heart, which is a tricky balance to land.
Racky Plews’ direction has genuinely inventive touches – such as the frenetic dance sequence charting the rise and fall of Khan’s second marriage, and the striking moment where she finally unlocks the doors suppressing her pain. For me a standout moment is Joni Mitchell’s haunting rendition of ‘I Put a Spell on You’, which Sophie Earl delivers with luminous intensity. Some elements could use refining: Khan is the show’s emotional core, and while the vocals are there, the grounding is less consistent. Marie’s characterisation is a little contradictory – she reads as a comedic caricature early on, perhaps signalling her twist too soon, and yet the ensemble seems to interact with her. Refine these elements and you’re looking at a commanding production.
Khan’s iconic repertoire is the backbone of the score, gorgeously reimagined by Mark Crossland – especially ‘I’m Every Woman’, which weaves through the show in strikingly different forms. It’s refreshing, too, for a single artist jukebox musical to feature other popular tracks, neatly avoiding the common trap of shoehorning in lesser known songs. Still, there’s an over reliance on presenting numbers as shows within a show, which feels less inventive. The live band, however, does a superb job of bringing the score to life.
Ebony Clarke’s choreography cleverly charts the decades, giving each era a distinct feel without tipping into over familiarity. The balletic marriage sequence is especially striking – unexpectedly sharp until the speed of the relationship’s collapse becomes clear.
Sara Perks’ set design mixes moving panels and projections with finesse, shifting eras and locations seamlessly. It’s also impressive how quickly a full live band appears and disappears. Zoe Spurr’s lighting is stunning, blending classic stage looks with concert style roving spots and disco flourishes. Chris Whybrow’s sound is strong overall, though a couple of mics sound a little muffled. Natalie Pryce’s costumes capture each era beautifully – sharp, stylish, and consistently striking. J.J. Wiggs’ WHAM design charts Khan’s hair history with charm and precision.
Few performers could match Chaka Khan’s iconic vocals, yet this cast rises to it. Alexandra Burke proves she is a star, with phenomenal vocals and commanding stage presence as Khan. The ensemble – including Chrissie Bhima, Ashley Stroud, Charlotte St. Croix, Miles Anthony Daley, Jelani Munroe, Sophie Earl, Maryla Abraham and Daniela Morain – is so strong it’s a challenge to single anyone out, though Bhima’s mercurial Marie, Stroud’s feisty Taka, Earl’s arresting Joni and Daley’s effortlessly smooth Richard give Burke real competition.
‘I’m Every Woman: The Chaka Khan Musical’ is a vibrant celebration of Black female strength, with a surprisingly open heart. With some focused editing, it’s poised to become an audience favourite.
I’M EVERY WOMAN – THE CHAKA KHAN MUSICAL
Troubador Wembley Park
Reviewed on 4th August 2026
by Hannah Bothelton
Photography by Danny Kaan
