Review: I’M EVERY WOMAN, THE CHAKA KHAN MUSICAL, Troubadour Wembley Park

It is press night for I’m Every Woman: The Chaka Khan Musical at Troubadour Wembley Park Theatre, where Chaka herself is in attendance to witness the production of a celebration of her influential voice in music. The vibrant biographical production explores "the fame, the fire and the fight" behind an extraordinary career. Chaka Khan, affectionately known as the "Queen of Funk", has long been recognised for her remarkable versatility across soul, funk, rhythm and blues and pop. Rather than simply presenting a catalogue of greatest hits, this production charts the woman behind the legend, examining her relentless pursuit of equality, her experiences of intimate partner violence, drug addiction and motherhood, whilst never losing sight of the remarkable artistry which defined her career.

Before a note is sung, the audience is greeted by an enormous glittering Chaka Khan logo which immediately establishes the evening’s celebratory atmosphere. The story begins in Chicago where young Yvette Stevens discovers her love of singing, against the backdrop of a fractured family life, shaped by her father’s substance misuse. The emotional foundations of the musical are laid early, with Chaka's extraordinary determination clear from the beginning.

A touching moment arrives as Chaka and her sister Tammy make a childhood pinky promise that they will one day achieve musical success together before attending a Yoruba naming ceremony, where Yvette receives the name Chaka, representing a woman of fire. She is described as 'a child of song' and a 'warrior' who continues to move forward with unbreakable strength, a fitting metaphor which resonates throughout the production. Samuel Sarpong Broni delivers commanding vocals during Love the One You’re With, perfectly capturing the hope, optimism and trauma which surrounds these formative years.

The production celebrates Chaka’s ethics, including her story within the wider Civil Rights Movement. Inspired by the Black Panther Party and its calls for justice, equality and empowerment, she becomes involved with the movement under the influence of deputy chairman Fred Hampton. His tragic murder is handled with starkness and demonstrates how deeply political conviction shaped her outlook. Alongside this, audiences witness her turbulent brief marriage to bassist Hassan Khan at just seventeen years old, before she joins Rufus as lead singer and attracts the attention of record executive Bob Monaco, leading to the band’s breakthrough recording contract in 1973.

Jelani Munroe is particularly impressive as Hassan Khan, delivering rich and expressive vocals during Pack’d My Bags, whilst Alexandra Burke commands the stage with effortless confidence, balancing powerhouse vocal performances with moments of striking vulnerability.

As Chaka’s career accelerates, so too do the pressures accompanying global success. The narrative introduces an array of famous contemporaries including Joni Mitchell, Stevie Wonder, Miles Davis and the artist Prince, alongside an amusing recording studio sequence in which Luther Vandross and Whitney Houston appear as Chaka’s backing singers. One particularly interesting revelation is Chaka’s uncredited lyrical contribution to Stevie Wonder’s Tell Me Something Good, which became Rufus’s breakthrough hit and earned the band’s first Grammy Award.

Among the evening’s finest performances is Sophie Earl’s beautifully haunting portrayal of Joni Mitchell. Her renditions of Big Yellow Taxi and later I Put a Spell on You are emotionally charged, serving as both musical highlights and poignant reflections of watching a close friend descend into addiction.

The musical also explores the devastating reality of intimate partner violence through Chaka’s turbulent marriage to Richard Holland. Miles Antony Daley delivers a superb rendition of Ain’t Nobody, whilst an inspired choreographed dance partnership by two of the ensemble physically embodies the dramatic highs and crushing lows of their relationship, with remarkable elegance and emotional clarity.

Following the interval, Chaka returns to the music industry after the birth of her second child, collaborating with Miles Davis whilst battling increasingly destructive substance dependency. An inventive and wild sequence featuring swirling choreography, dramatic lighting and oversized lampshades vividly captures the chaos and confusion addiction brings.

The arrival of I Feel For You provides one of the production’s standout moments. The musical celebrates Prince’s original composition, before exploring how Chaka's remix transformed it into the iconic recording audiences know today through its infectious arrangement, Melle Mel’s unforgettable spoken introduction and Stevie Wonder’s harmonica performance. The choreography accompanying this sequence is among the strongest of the evening.

Ashley Stroud shines as Chaka’s sister Taka Boom, whose energetic performance of Life Is A Dance accompanied by striking red and gold fan choreography, provides another memorable visual spectacle.

Beyond the music, the production gives deserved attention to Chaka’s experiences as a Black woman navigating an industry, which repeatedly attempted to control both her career and her voice. Her decision to dismiss manager Bob Monaco following unacceptable disrespect and the controversial release of Addicted to Love by Robert Palmer rather than herself, becomes another powerful assertion of reclaiming ownership over her own artistic identity. Personal heartbreak follows with the death of the artist Prince and increasing tensions within her relationship with daughter Milini, adding further emotional weight to the later scenes.

Importantly, the production concludes by acknowledging Chaka’s lasting legacy beyond music through the creation of the Chaka Khan Foundation, now known as Chaka Khan Cares. Originally established to support women recovering from domestic violence, trauma and substance misuse, the charity has evolved alongside Chaka and her sister Tammy Michelle to embrace neurodivergent children and adults, mental health, youth wellbeing and underserved communities whilst continuing its commitment to supporting survivors. It is a fitting reminder that Chaka’s greatest contribution may extend far beyond the recording studio, using her own experiences to create opportunities for healing, inclusion and hope.

I’m Every Woman boasts an exceptionally talented cast whose extraordinary vocal performances consistently honour Chaka Khan’s remarkable catalogue. It offers an honest reflection of Chaka's life, a raw look at the perils of addiction, an important exploration of the music industry’s darker realities, alongside an exploration of intimate partner violence, survival, resilience, female empowerment and reclaiming one’s voice. It's already powerful themes would have benefited from one final defining statement or moment, perhaps through Chaka’s own words taken from her memoir, to leave audiences with an unmistakable declaration of unity, resilience and the enduring strength of victim survivor voices. Those themes are undoubtedly present throughout, but one final, rousing statement could have solidified the message and elevated the musical.

I’M EVERY WOMAN – THE Chaka Khan MUSICAL runs at Troubadour Wembley Park Theatre until 27 September 2026. Alexandra Burke* features as Chaka Khan. 

*Jordan Frazier will perform on 22, 23, 25 (matinee), 30 (evening) July, 1, 6 (evening), 8 (matinee), 13 (evening), 15 (matinee), 20 (evening), 22 (matinee), 27 (evening), 29 (matinee) August, 3 (evening), 5 (matinee), 10 (evening), 12 (matinee), 17 (evening), 19 (matinee), 24 (evening) and 26 (matinee) September

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