“Suffragettes finally getting a production they deserve, but is it angry enough?”
Introducing ‘Sylvia’. Sylvia Pankhurst, oh yes, of that legendary Pankhurst family. If you are unaware, this family is the main reason why women got the right to vote in the UK, and it was not easily done. Emmeline (Emily) Pankhurst and her eldest daughter, Christabel, are the known giants and leaders of the suffragettes but, for the first time, our focus is drawn to the middle daughter, Sylvia, who, counter to her mothers unyielding and militant approach to secure the woman’s vote, favours socialism and promotes pacifism which ultimately divides the family. Kate Prince (director, lyricist and choreographer) brings us this funky, hip hop musical currently on at the Festival Theatre in Edinburgh till the 17th of October before continuing its UK tour.
Prince comments that “funk feels like a revolution” and brought it in bucket loads diving in to hip hop, funk, soul and RnB to bring the story to life. It’s high-energy, constant grooves and soaring vocals are the backbone throughout a constant stomp of hope and resistance amongst internal family conflicts and external oppressors. The energy on that stage was phenomenal, the cast being faultless and fluid with the overall production slick from lighting to sound. Most of the songs demand insane range, strength and flexibility all while executing complex choreography and I am truly rattled and in awe of the vocal prowess and presence of Beverly Knight and Naomi Katiyo who played our Emmeline and Sylvia. Songs like ‘You’ve Changed’ and ‘March Women March’ were stand-out, phenomenal moments and elevated the entire production.
There was a monochrome approach to set design and costuming that tied into a black board/ poster aesthetic. This also extended to the constant projected backdrop design which gave dates, places and lyrics throughout which was helpful. The red that later diffused into the costumes to show Sylvias leanings towards the Labour Party and later independence from her mother was cleverly done although I did miss the flash of colour that the suffragettes were known for and wonder if both could have worked somehow to give the women more character and distinguish them from the men.
Although engaging, I’m sad to say that the production felt slightly too long. The narrative was easy to follow, a great feat given the expansive timeline and ton of information to impart, but some of the songs in the first half could have been condensed as they felt a bit repetitive in their tone and message. A second note is simply that I wanted more rage and reaction given to the brutal moments- and there were many to choose from but not truly given the space- which the overall feel of the songs didn’t capture. Without that depth of anger, easily lost in the upbeat grooves and gorgeous vocal riffs, the stakes, even though were clearly high and outrageous, didn’t feel as such and therefore did not hit as hard. It was also very hard to not draw comparison to a production like Hamilton, of which there is clear inspiration in many of the aspects, but it did grow into its own by the final song which was very uplifting and satisfying.
It is easy to see why a story like this is still so relevant a little over a hundred years on, one only needs to turn on the news, or if you’re female- exist, but what Prince does brilliantly is hone in on the inner workings of a hard fought movement from within the dynamic of the very family that lead it further connecting us to the women who refuse to back down. ‘ powerful and interesting and it’s close, but I am missing the punch which I know it could land.
Slyvia: A Musical Revolution plays until 17th October at Festival Theatre. Tickets are available here.