I’m Every Woman Gives Chaka Khan a Warts-and-All Musical Her Story Almost Survives at the Troubadour

I’m Every Woman, the Chaka Khan Musical | Troubadour Theatre until 27th September

Chaka Khan’s story gets a big, warts-and-all staging but is undone by an overstuffed book

I’m Every Woman: The Chaka Khan Musical premieres at the Troubadour Theatre in Wembley, running until September 27. The show traces Chaka Khan’s life story from beginning to present day, covering a five-decade career that has produced 22 albums, 25 chart-topping hits, and 70 million record sales. Alexandra Burke, the 2008 X Factor winner known for her roles in Sister Act, The Bodyguard, and Chicago, takes on the title role. The musical promises an unvarnished look at Khan’s life, exploring civil rights activism, the pressures of the music industry, addiction, and the demands of being a working mother, all set against the backdrop of her iconic hits.

Online sources state the show runs two hours and twenty minutes. In reality, it runs a good twenty minutes longer, and I understand it was even longer during previews. While it is a lengthy production, a long show isn’t necessarily a bad one. I’ve found this to be true from my experience seeing The Oresteia to noting that the new Game of Thrones play runs a full hour longer than this musical, and I’ve endured short productions of Electra that felt endless. Length, isn’t everything.

The musical deserves credit for its “warts and all” portrayal of Khan’s life. It’s a hybrid production, with some songs performed as they would have sounded in the studio, and others as live renditions. Among them are a few tracks I had genuinely forgotten she was involved in. The dancing is phenomenal, the vocals are great, and overall, it fits the mould of other Tina-style biopic musicals.

Alexandra Burke carries a gargantuan role, guiding Chaka Khan through trauma after trauma, and she rises to the challenge both vocally and in her dialogue. Potential attendees would do well to review trigger warnings beforehand, as the show unflinchingly addresses difficult themes. Burke is phenomenal.

Sophie Earl, who plays Joni Mitchell, delivers one of the production’s standout performances. Her vocals are absolutely superb, shining in a couple of solo moments on stage. She also achieves something rarer: making seriously overwritten, purple prose dialogue sound like something a human being might actually say.

Chaka’s famous friends, including Joni Mitchell, Prince, Stevie Wonder, and Steve Winwood, appear throughout the show. Much like my experience reviewing the Sinatra musical, characters are introduced with clunky exchanges such as, “Good afternoon, Robert Palmer,” or “Oh, hello, Prince, how are you today?” One wishes for a more organic method of introduction.

The show moves from event to event at an relentless pace, with barely any slowing. There’s a line in Alan Bennett’s The History Boys where history is defined as “one f**king thing after another.” This unfortunately describes the musical’s relentless progression, which ultimately prevents any emotional engagement.

A musical’s success often hinges on its book, (or script) and regrettably, this is where the production seriously falters. There’s simply too much content, and the dialogue often sounds unnatural. There are also some bizarre choices, such as a scene where, after Chaka Khan takes an overdose, her partner, husband, I’m not entirely sure, bursts into song while they await an ambulance. While beautifully sung, it feels a tad bizarre given the circumstances.

Despite its flaws, there is much to appreciate. If you love Chaka Khan and her music, you’ll undoubtedly have a great time, as her entire catalogue is featured. A practical tip: the Troubadour Theatre is located in Wembley, in what used to be two converted TV studios that previously hosted Starlight Express and Newsies. It’s easily accessible by tube, but if you’re travelling from outside of London, consider staying overnight or attending a matinee.

Two stars for a show with phenomenal performances and a book that simply can’t carry the weight of the story it’s trying to tell.

Go if you love Chaka Khan’s catalogue and can forgive a book that can’t keep pace with it. EyeOnLondon rates the performances far higher than the script.

For more London arts and culture, visit EyeOnLondon at eye-on-london.com.

[Image Credit | Danny Kaan]

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