REVIEW: SYLVIA UK TOUR| THE LOWRY | 19/10/2026
Sylvia UK Tour – A Revolution Worth Standing Up For!
Sylvia at The Lowry brings the extraordinary story of suffragette Sylvia Pankhurst to the stage in a bold, energetic and thoroughly modern musical that combines history, politics and family drama with hip-hop, soul, funk and contemporary dance.
Created, directed and choreographed by Kate Prince, with a book by Prince and Priya Parmar and music by Josh Cohen and DJ Walde, Sylvia: A Musical Revolution offers a fresh perspective on the women's suffrage movement, focusing on one of the Pankhurst family's most fascinating figures.
The musical was originally presented as a work in progress at London's Old Vic in 2018 before returning for its official world premiere in 2023. The production subsequently received three Olivier Award nominations, with Beverley Knight winning Best Actress in a Supporting Role in a Musical for her portrayal of Emmeline Pankhurst.
Now touring the UK, the production's arrival at The Lowry in Salford feels particularly significant given the Pankhurst family's strong connections to Manchester, where Emmeline founded the Women's Social and Political Union in 1903. With the city playing such an important role in the history of the suffragette movement, bringing Sylvia's story to audiences in Greater Manchester adds another layer of meaning to the production.
While comparisons with Hamilton are perhaps inevitable, Sylvia has a distinctive identity of its own, combining a variety of musical styles with exceptional choreography to tell an important story that remains relevant today.
Set against the backdrop of the early twentieth-century women's suffrage movement, Sylvia follows Sylvia Pankhurst, the daughter of renowned suffragette leader Emmeline Pankhurst, as she fights not only for women's right to vote but also for wider social and political equality.
In 1903, Emmeline establishes the Women's Social and Political Union (WSPU), determined to secure voting rights for women. Alongside her eldest daughter Christabel, she leads an increasingly militant campaign, attracting national attention through protests, demonstrations and acts of civil disobedience.
Although Sylvia shares her family's determination to achieve women's suffrage, she begins to question their methods and priorities. While Emmeline and Christabel are prepared to accept political compromises that would initially benefit certain groups of women, Sylvia believes equality should extend to everyone, regardless of gender or social class.
Her growing commitment to socialism, pacifism and improving the lives of working-class communities creates an increasingly painful divide within the family. Their differing attitudes towards the First World War further highlight these divisions, leaving Sylvia torn between her loyalty to her mother and her determination to follow her own beliefs.
I found the breakdown of Emmeline and Sylvia's relationship particularly upsetting, and I couldn't help feeling sorry for Sylvia. Although I admired Emmeline's determination and everything she was fighting for, I was disappointed that she was willing to put her political beliefs before her relationship with her daughter. As a mother myself, I found this particularly difficult to understand, as my children will always come first. It actually made me dislike Emmeline a little, despite everything she achieved for women's rights.
Alongside her political activism, the musical explores Sylvia's complicated relationship with Labour politician Keir Hardie, adding another emotional dimension to her story.
What makes Sylvia particularly compelling is that it doesn't simply celebrate the achievements of the suffragettes. Instead, it explores the disagreements, sacrifices and personal relationships behind the movement, revealing how people fighting for the same ultimate goal could hold very different beliefs about how to achieve it.
The production also exposes the deeply ingrained prejudices of the period, including a scene in which men attempt to justify women's unequal treatment through supposedly scientific arguments. Although presented with humour, the attitudes being expressed provide a reminder of the barriers women faced and how some of those prejudices have continued to influence society.
The story doesn't shy away from the darker aspects of the suffrage movement either, including the imprisonment of protesters, hunger strikes and the harrowing practice of force-feeding women who refused to eat. It also explores the government's response to these protests, including the notorious Cat and Mouse Act of 1913, which allowed hunger-striking suffragettes to be temporarily released from prison before being arrested again once they had recovered. These moments highlight the physical and emotional sacrifices made by those campaigning for rights that are so easily taken for granted today.
Despite exploring complex political issues and some difficult historical events, the musical remains engaging and accessible throughout, balancing its more serious moments with humour, emotion and exhilarating musical numbers.
One of the most impressive aspects of Sylvia is how effectively the set, lighting, projections, costumes and choreography work together to create a visually spectacular production. Despite the relatively simple staging, the creative team transforms the performance space into an ever-changing backdrop for the story, allowing the music and movement to take centre stage.
Ben Stones' set design features a large rectangular frame surrounding the performance area, with a stepped structure at the rear and minimal additional scenery. The illuminated frame is particularly striking, creating a distinctive visual feature that helps define the performance space. The simplicity of the set provides plenty of room for the large ensemble and allows scenes to transition smoothly without the need for elaborate scenery changes. The live musicians are also positioned on the raised staging, adding another dimension to the production.
The lighting design by Natasha Chivers and Hector Murray is absolutely stunning and plays an essential role in bringing the stage to life. Rows of powerful spotlights send dramatic beams of light across the performance space, creating spectacular visual effects, particularly during the larger ensemble numbers. The lighting changes constantly to reflect the mood of the story, from the stark white and blue tones of the suffragette demonstrations to the warmer reds and amber lighting associated with Sylvia's growing involvement in the working-class movement.
Andrzej Goulding's video design and animation are equally effective, with large projections transforming the otherwise minimal backdrop. Bold words such as 'MARCH', 'GUARD' and 'VOTES FOR WOMEN' dominate the stage during key moments, reinforcing the political messages of the production and creating the atmosphere of a mass demonstration. The use of distressed lettering, flickering imagery and monochrome projections creates the impression of old photographs and historical newsreels, giving the production a connection to the period while maintaining its contemporary presentation.
The costumes, also designed by Ben Stones, provide an interesting contrast between the different characters and stages of the story. Much of the production features structured black and grey clothing, with long skirts, fitted jackets and high collars creating a uniform appearance among the suffragettes. These costumes are particularly effective during the ensemble numbers, where the coordinated clothing adds to the sense of unity and determination.
As Sylvia begins to establish her own political identity, the costumes become noticeably more colourful. The scenes involving the East London Federation introduce shades of red, pink and white, with practical aprons and workwear reflecting the working-class communities Sylvia is determined to support. These brighter costumes provide a noticeable contrast with the darker outfits worn earlier in the production and help distinguish the different groups and settings.
Kate Prince's choreography is nothing short of phenomenal and is undoubtedly one of the greatest strengths of the production. The routines are incredibly sharp and precise, combining hip-hop and contemporary dance with movements that reflect the determination and discipline of the suffragettes. What particularly impressed me was just how perfectly synchronised the entire ensemble was, with every movement performed in unison. Watching such a large group of performers execute the demanding choreography with such precision was absolutely mesmerising, creating powerful formations that were as visually impressive as they were meaningful to the story.
Rather than relying on traditional musical theatre dance routines, Prince incorporates strong, deliberate movements, including raised fists, defensive stances and tightly coordinated gestures. These movements give the choreography a sense of purpose, reinforcing the themes of protest, resistance and solidarity.
The choreography is equally effective during the more serious moments, particularly a sequence in which the protesting women stand together in solidarity, only to be repeatedly knocked to the ground. Despite the violence they face, they continue to rise and resist, creating a powerful visual representation of their determination. It is a striking example of how Prince uses movement to tell the story rather than simply to entertain.
One of the standout sequences is Suffrajitsu, which opens Act Two and explores the self-defence techniques adopted by suffragettes. The choreography incorporates martial arts-inspired movements, with the performers adopting low stances and defensive positions as they demonstrate their determination to protect themselves. It is an incredibly entertaining sequence that combines humour, attitude and impressive physical coordination.
The music and choreography work brilliantly together, with the movements helping to tell the story and bring the characters' emotions to life. Whether it's a large ensemble number or a more intimate moment, the choreography always feels like an important part of the production rather than simply something added between the songs. This is particularly impressive given how closely Kate Prince, Josh Cohen and DJ Walde worked together to develop the music and movement.
The music by Josh Cohen and DJ Walde is equally outstanding, blending hip-hop, rap, soul, funk and contemporary musical theatre into a wonderfully varied soundtrack. As a predominantly sung-through musical, the songs drive the story forward, with the different musical styles helping to reflect the personalities, beliefs and emotions of the characters. The score has a distinctive contemporary sound, yet it works remarkably well with the historical setting, bringing a fresh energy to the story without diminishing the importance of the events being portrayed.
I'm not usually a fan of sung-through musicals, and I initially found the format a little difficult to get into. However, I soon adjusted to it, and I think the way the music was incorporated into the storytelling, combined with how interesting I found Sylvia's story, made it much easier to follow than some other sung-through musicals I've seen. Rather than struggling to keep up with what was happening, I found myself becoming increasingly absorbed in the story, and the musical format worked surprisingly well for me.
The energetic ensemble numbers are particularly effective, with songs such as March Women March, Suffrajitsu and Stand Up capturing the determination and collective strength of the suffrage movement. Two songs that I found particularly powerful were March Women March and Be The Change, which come towards the end of Act One. March Women March is a spectacular ensemble number, with the powerful vocals and synchronised choreography creating a real sense of excitement, while Be The Change provides a more emotional conclusion to the first act. Together, they make for an incredibly memorable lead-up to the interval.
The more emotional songs are equally impressive, particularly those exploring the increasingly difficult relationship between Sylvia and Emmeline. You've Changed is especially significant, marking a painful turning point between mother and daughter, while the contrasting musical styles help communicate their differing personalities and political beliefs. The extraordinary performances from Naomi Katiyo and Beverley Knight bring genuine emotion to these moments.
Towards the end of the production, Stand Up provides a powerful reminder that the fight for equality extended beyond the initial achievements of the suffragettes, before March People March brings the musical to a rousing and uplifting conclusion.
The cast of Sylvia is exceptional, with outstanding performances from the principal actors and an incredibly talented ensemble who bring energy, precision and emotion to every scene.
Naomi Katiyo is phenomenal as Sylvia Pankhurst, delivering a captivating central performance that captures both the strength of Sylvia's political convictions and the vulnerability beneath her determination.
Katiyo portrays Sylvia's development beautifully, from a young woman eager to support her family's campaign to an increasingly independent activist prepared to challenge those closest to her. She brings warmth and sincerity to the role, making Sylvia an incredibly sympathetic character even as her beliefs create painful divisions within her family.
Her vocals are equally impressive, moving effortlessly between the rhythmic demands of the faster musical numbers and the emotional intensity of the more dramatic songs. She brings genuine feeling to Sylvia's personal struggles, particularly during the increasingly painful confrontations with her mother.
Beverley Knight is simply outstanding as Emmeline Pankhurst, delivering a commanding performance that demonstrates exactly why she received an Olivier Award for the role. Knight captures Emmeline's determination and authority brilliantly, while also revealing the more complicated aspects of her personality. Although Emmeline is undoubtedly a remarkable figure in British history, Knight doesn't shy away from portraying her controlling nature or the consequences of her political convictions for those closest to her. The result is a formidable character whose strength is both admirable and, at times, deeply unsettling.
Knight's vocals are absolutely sensational, with extraordinary power and emotional depth. Whenever she takes centre stage, she commands attention, and her musical confrontations with Katiyo are among the production's most memorable moments. The chemistry between the two performers is excellent, making the complicated mother-daughter relationship feel believable and providing much of the musical's emotional impact.
Ellena Vincent is excellent as Christabel Pankhurst, portraying Sylvia's older sister with confidence and conviction. Her unwavering loyalty to Emmeline and commitment to their political strategy create an effective contrast with Sylvia's increasingly independent views. Kirstie Skivington also impresses as younger sister Adela, bringing a gentler perspective to the family disagreements while demonstrating that she is equally capable of standing up for her beliefs.
Uzuazo O'David brings warmth to the role of Harry Pankhurst, whose position as the only son creates an interesting dynamic within the family. His scenes with Sylvia provide some touching moments, offering a glimpse of their relationship away from the larger political disagreements. The way Harry is treated within the family also adds another interesting element to the story.
Tachia Newall delivers a charismatic performance as Keir Hardie, bringing a different personality to the political discussions surrounding the Pankhurst family. His scenes with Sylvia are particularly engaging, helping to develop their relationship while exploring the influence he has on her political views. Newall also handles the character's occasional moments of humour particularly well.
Castell Parker brings plenty of comedy to his portrayal of Winston Churchill, presenting the politician as a pompous and frequently ridiculous figure. Kenedy Small is wonderfully entertaining as Churchill's mother, Jennie, particularly during her more eccentric moments, while Collette Guitart brings a wonderfully dry sense of humour and confidence to her portrayal of his wife, Clementine.
Ivano Turco also makes a strong impression as Silvio Corio, bringing charm and impressive vocals to the role, while Kelly Agbowu delivers engaging performances as Flora and Drummond, adding humour, confidence and a commanding stage presence.
The ensemble are equally impressive, tackling Kate Prince's demanding choreography with remarkable precision and energy. Whether performing as suffragettes marching together or bringing the bustling East End community to life, they play an essential role in making the production so visually exciting. Their commitment to the music, movement and storytelling is evident throughout, particularly during the larger ensemble numbers, which are among the most exhilarating moments of the show.
Sylvia at The Lowry is an absolutely phenomenal production, combining an important chapter of British history with exceptional performances, exhilarating choreography and a fantastic soundtrack. Kate Prince has created a musical that is as entertaining as it is thought-provoking, exploring the courage and determination of the suffragettes while also revealing the disagreements, difficult decisions and personal sacrifices behind their campaign.
Naomi Katiyo delivers a captivating performance in the title role, while Beverley Knight is simply outstanding as Emmeline Pankhurst. Their complicated mother-daughter relationship provides much of the musical's emotional impact, complemented by an incredibly talented supporting cast and ensemble. The striking lighting, clever staging, powerful projections and extraordinary choreography bring the story to life in a way that feels both historically significant and thoroughly contemporary.
Before seeing Sylvia, I was familiar with Emmeline Pankhurst and her role in the suffragette movement, but I knew very little about her daughter. I found it fascinating to discover Sylvia's story and see the movement from her perspective, particularly how her beliefs sometimes differed so significantly from those of her mother. The musical introduced me to a side of the suffragette movement that I hadn't previously been aware of, making it an educational experience as well as an incredibly entertaining one.
Although the events depicted in Sylvia took place more than a century ago, many of the issues explored in the musical remain relevant today. It's a fascinating reminder of just how much women had to fight for their rights, while also highlighting that the struggle for equality didn't end when women were first given the vote.
Educational, entertaining, funny and deeply moving, Sylvia is an unforgettable theatrical experience and an absolute must-see!
The Sylvia UK Tour runs at The Lowry until Saturday 24 October 2026. Tickets are available using the link below.
For more information about the production, including tour dates and show details, visit the official website below.
Photo Credit - Tristram Kenton.
*Our tickets for this show were kindly gifted in exchange for an honest review.
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