I'm Every Woman : The Chaka Khan Musical
I’m Every Woman is a vibrant celebration of one of music’s greatest voices, combining Chaka Khan’s legendary catalogue with the story of her remarkable life. Rather than presenting a polished museum piece, this musical feels like stepping inside the heartbeat of a woman whose music refused to stand still even when life and the perils of fame tried to stop her.
Alexandra Burke delivers a performance that never slips into imitation; she brings fire and fight proving she is a force to be reckoned with as the diva herself. Burke captures Chaka’s fearless spirit without becoming a caricature, allowing the audience to see the vulnerability beneath the powerhouse vocals. It’s a portrayal built on emotional truth, making every triumph feel earned and every setback impossible to ignore. Chrissie Bhima’s Marie Stevens brings soul and grit with her vocals; she shares the stage with Burke for a lot of the show and proves she deserves to be there. Ashley Stroud’s portrayal of Taka Boom is one of the musical’s most compelling dynamics. Instead of presenting sisterhood as uncomplicated support, the production embraces its complexity. Their relationship feels like harmony occasionally interrupted by moments of fierce loyalty mixed with the inevitable tensions that arise when two powerful voices occupy the same family becoming one of the show’s richest emotional threads.
Charlotte St Croix and Jelani Munroe, as Milini and Hassan Khan, remind the audience that fame is rarely experienced by one person alone, asking what it means to be the children of someone the world feels it already knows and the repercussions of this. These scenes quietly broaden the emotional scope of the musical. Maryla Abraham’s Sandra Stevens adds depth to the family portrait, bringing a richer gospel sound and yet another incredible vocal. Miles Anthony Daley’s Richard Holland is written as more than an antagonist. His connection to Chaka reveals how creative partnerships can become deeply personal and how personal relationships often leave fingerprints on artistic expression. Daley’s voice is as smooth as silk giving the audience tingles with a stand out performance he is definitely one to look out for.
I’m Every Woman’s refusal to paint a flawless portrait is refreshing. Addiction, personal struggles and the pressures of fame are explored with honesty, ensuring the show celebrates resilience rather than perfection. It reminds us that legends are not defined by the absence of hardship, but by the courage to keep creating despite it. One major flaw, I don’t think we see enough of Khan’s career, the journey and rise to be a star. Chaka Khan seems to remain ageless throughout the piece as it jumps around resulting in a lot of the career defining moments being missed and timelines becoming blurred. The historical figures and celebrity cameos who mapped Chaka’s artistic journey are mentioned and rightly so adding context and giving her status but it sometimes feels like names are being thrown in as a trophy rather than adding to the story.
The score is, unsurprisingly, electric. Hits including I Feel For You, I’m Every Woman, Ain’t Nobody and Through the Fire, are emotional landmarks that chart Chaka’s extraordinary journey. However she only sings one during the story, the other characters take on the classics and we hear them in a different context which is nice but as these songs are the bangers that propelled her in to the spotlight, we wanted to see her sing them. I’m not sure the script matches up with the jukebox musical of an artist best known for disco/soul/RnB and funk. It could probably do with another workshop and a few changes. Visually though, the production embraces colour, movement and attitude. Ebony Clarke’s choreography slams with confidence, bringing all the swagger you’d expect. Natalie Pryce’s costumes mirror each era of Chaka’s evolution and the live band injects the evening with an irresistible sense of authenticity. There are moments where the theatre feels less like a traditional musical and more like an intimate soul concert, with the audience happily surrendering to the groove. I love the projections and the rustic edgy set adding to the grime and grit of the story. By the finale, the audience leaps to their feet for a feel good, upbeat medley that was desperately craved for celebrating survival, reinvention of one of music’s most influential voices.
Ultimately, I'm Every Woman is strongest when it remembers that legends are never created in isolation. Families, collaborators, rivals, friends, and mentors all leave their mark. By giving those voices space alongside Chaka's own, the musical becomes more than a tribute it becomes an exploration of how extraordinary lives are shaped by extraordinary relationships.
This show was reviewed on the 4th August 2026 at Troubador Wembley Park Theatre where it runs until the 27th September 2026. Tickets and details of the touring dates here: I'm Every Woman - The Musical
Review written by Sam Sadler
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Photo credit : Danny Kaan
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