The fame, the fire, the fight – this is her story. I’m Every Woman brings to life the untold story of Chaka Khan, one of the most influential voices of our time. Unapologetically bold and deeply human, the production explores her unwavering passion for civil rights, her defiance in the face of a toxic music industry, the harrowing road through addiction, and the unrelenting pressure of being a working mother. At its core, it’s a story of resilience, purpose, and power – a celebration of the woman behind the legend.
I’M EVERY WOMAN features Chaka Khan’s much-loved songs released as a solo artist and lead singer of the band ‘Rufus’ such as I Feel For You, Tell Me Something Good, Ain’t Nobody, Sweet Thing, Higher Love and Through the Fire. The show, which is a journey of music, love and betrayal has a book that includes an array of Chaka’s famous friends.
Review by Richard Lambert
The Troubadour Wembley Park Theatre remains something of a nightmare, but once you’re finally in your seat, I’m Every Woman – The Chaka Khan Musical more than makes up for it. Please see footnote why the venue is “more Chaka Carnage than Chaka Khan“.
This is a huge production and one that rarely stands still. Sara Perks‘ set is constantly changing, with sliding panels, moving trucks, flown scenery and an endless flow of pieces creating a stage picture that’s always interesting to watch. Every scene seems to bring something new.
The multi-layered video design deserves a special mention. Rather than simply throwing images onto a screen, the projections move perfectly with the scenery, tracking the sliding panels with incredible accuracy. It’s one of those technical achievements that looks effortless, even though you know it can’t be.
Zoe Spurr‘s lighting is simply superb. It’s exciting from start to finish, with barely a moment where it sits back. The use of remote follow-spots is seamless and the whole rig feels polished, slick and perfectly suited to a musical on this scale.
Ebony Clarke‘s choreography has real energy and is performed brilliantly by the company. Every number feels alive, while Natalie Pryce‘s colourful costumes and larger-than-life wigs capture the glamour and excess of the era beautifully.
Of course, it’s the music that everyone comes to hear and the show doesn’t disappoint. Chaka Khan‘s catalogue is packed with classics and they’re performed with real power throughout. The closing megamix of her biggest hits is an absolute crowd-pleaser that had the audience on its feet.
One thing that has often let productions down at the Troubadour is the sound, but not this time. Chris Whybrow‘s sound design is excellent, with every lyric coming through clearly and the balance between band and performers spot on. Credit is certainly due to the sound team for getting it so right in a venue that hasn’t always been kind to musicals.
There is a lot of name-dropping going on and famous characters come into the story. I had no idea and spent a few hours after the show fact-checking and yes, this would all appear to be pretty true-to-life. Wow! Such an eye-opener.
Racky Plews also deserves enormous credit. This show is huge! Keeping a production of this size moving so effortlessly, with so many technical elements working together, is no easy task, yet everything feels completely integrated.
My only real reservation is the running time. At close to three hours, it feels too long, and two family therapy scenes in particular bring the evening to a halt. They lack the energy of the rest of the show and could easily be shortened, or even removed altogether, without losing anything important.
Those scenes aside, this is a spectacular production. It’s visually stunning, technically outstanding and packed with terrific performances. Most importantly, it celebrates Chaka Khan‘s music in exactly the way audiences will be hoping for.
Photo credit: Danny Khan
Cast
- Alexandra Burke – Chaka Khan
- Jordan Frazier – Alternate Chaka
- Chrissie Bhima – Marie Stevens
- Ashley Stroud – Taka Boom
- Charlotte St Croix – Milini Khan
- Miles Anthony Daley – Richard Holland
- Jelani Munroe – Hassan Khan
- Sophie Earl – Joni Mitchell
- Samuel Sarpong-Broni – Stevie Wonder
- Teddy Wills – Fred Hampton
- Chris Breistein – Steve Winwood
- Maryla Abraham – Sandra Stevens
- Daniela Morain – Tammy Michelle
- Grant Zavitkovsky – Bob Monaco
- Connor Wilkins
- Gregory Armand
- Zinzile Tshuma
- Oskarina O’Sullivan
- Ryan Hughes
- Kazmin Borrer
- Ryan Webb
- Nimi Spiff
- Amara Campbell
- Lara Beth-Sas
- Nay-Nay
- Spin
Creative Team
- Producer: Adrian Grant
- Book: Nia T. Hill
- Direction: Racky Plews
- Musical Supervision: Mark Crossland
- Choreography: Ebony Clarke
- Set Design: Sara Perks
- Lighting Design: Zoe Spurr
- Sound Design: Chris Whybrow
- Video Design: Buckloop
- Costume Design: Natalie Pryce
- Hair, Wigs & Make-up Design: JJ Wigs
- Casting: Debbie O’Brien
- Associate Director: Oliver Lidert
- Associate Choreographer: Malachi Welch
- Production Management: Toby P. Darvill (Production Solutions Group)
- General Management: Emily Obasohan
I’m Every Woman – The Chaka Khan Musical
Venue: Troubadour Wembley Park Theatre
Dates: 22 July – 27 September 2026
Running Time: 2 hours 20 minutes (plus interval)
Age Guidance: 14+
Website: I’m Every Woman – The Chaka Khan Musical
A Note About the Venue
I have to say, the experience of visiting the Troubadour Wembley Park Theatre remains one of the least enjoyable in London.
Despite not carrying a bag, I still had to join a lengthy queue for bag inspections before even reaching the entrance. Having finally made it inside, I asked a member of security where the press desk was and, following his directions, joined another queue. Only when I reached the front was I told I’d been sent to the wrong one and had to join an even longer line that snaked back on itself. In fact, the press queue became so long that ticket holders were being funnelled through it just to enter the theatre. My immediate thought was that this was becoming more “Chaka Carnage” than Chaka Khan.
Thirty minutes after arriving, I finally had my press ticket in hand, only to be greeted by another substantial queue at the bar. Having eventually bought a drink, I asked an usher whether my seat was in Row O or Q because the printing on the ticket wasn’t clear. The rather abrupt response was simply, “Ask inside.”
Five minutes before the advertised start time an announcement informed us that the performance would begin in five minutes. Unsurprisingly, hundreds of audience members immediately headed for the toilets, creating another bottleneck and delaying the start while everyone made their way back to their seats.
The interval was no better. I spent the entire twenty minutes queuing at the bar, watching staff prepare multiple cocktails and large drinks orders. Just as I reached the counter, the bar closed. If staffing levels can’t cope with demand, surely the sensible solution is to suspend cocktails during the interval and serve beers, wine and soft drinks as quickly as possible. Instead, many customers simply went without.
The production itself is excellent. Unfortunately, the customer experience surrounding it is anything but. Poor operational systems, unfriendly staff and endless queues make what should be an exciting night at the theatre feel unnecessarily stressful.