I’m Every Woman – The Chaka Khan Musical Review at Wembley Park Theatre London

I’m Every Woman: The Chaka Khan Musical is a new jukebox musical celebrating the extraordinary life and career of music icon Chaka Khan. Featuring a book by Nia T. Hill (Chaka Khan’s creative director) and weaving together many of Khan’s greatest hits, the production premiered at the Hackney Empire earlier this year before transferring to the Troubadour Wembley Park Theatre. With 22 albums, 25 chart-topping hits, more than 70 million records sold, and a career spanning five decades, Chaka Khan has left an indelible mark on the music industry. Her remarkable journey now comes to life on stage in this vibrant new musical, starring Alexandra Burke (Sister Act, The Bodyguard, Chicago and winner of The X Factor 2008).

Directed by Ricky Plews (Burlesque London and UK Tour), Burke is joined by an accomplished company including Chrissie Bhima, Ashley Stroud, Charlotte St Croix as Milini Khan and Whitney Houston, Miles Anthony Daley as Richard Holland and Prince, Jelani Munroe as Hassan Khan and Luther Vandross, Sophie Earl as Joni Mitchell and Dr. Evans, Samuel Sarpong-Broni as Stevie Wonder, Teddy Wills as Fred Hampton and Miles Davis, Chris Breistein as Steve Winwood, Maryla Abraham as Sandra Stevens, Daniela Morain in her professional debut as Tammy Michelle, and Grant Zavitkovsky as Bob Monaco. Completing the company in the ensemble are Connor Wilkins, Gregory Armand, Zinzile Tshuma, Oskarina O’Sullivan, Ryan Hughes, Lara Sas and Nay-Nay.

As Chaka Khan, Alexandra Burke truly shone. Her undeniable stage presence and powerful vocals, coupled with an emotionally nuanced performance, captured Chaka’s spirit perfectly. A captivating performance that celebrated both the superstar and the woman behind the music.

As Chaka’s partner in crime throughout the show, Chrissie Bhima as Marie Stevens gives a stellar performance. Bhima really puts her all into each song she’s given and her Act Two performances of “Like Sugar” and “The Battle” were a highlight. Similarly, Charlotte St. Croix as Milini Khan sang a beautiful rendition of Linda Perry’s “Beautiful” (made famous by Christina Aguilera), showing the audience a masterclass in making a song your own.

Sophie Earl was sensational as Joni Mitchell and delivered a “I Put A Spell On You” that was to die for. Ashley Stroud as Taka Boom gave us an electrifying “Life Is A Dance” in Act Two and Maryla Abraham as Sandra Stevens has some beautiful moments including a close three part harmony with Stroud and Daniela Morain as Tammy Michelle on “Through The Fire”. The men in the show shone equally as bright, with Jelani Munroe delivering a beautiful rendition of “Pack’D My Bags” and Samuel Sarpong-Broni in a fantastic cameo as Stevie Wonder duetting with Burke’s Chaka on “Tell Me Something Good”. Miles Anthony Daley played dual roles as Khan’s second husband Richard Holland and had a brilliant comic and touching turn in the second act as Prince performing “I Feel For You” that had the audience a-buzz. Grant Zavitkovsky was a wonderfully energetic Bob Monaco, and Chris Breistein gave a lovely turn as Steve Winwood belting out “Higher Love” during Act Two.

A small but impressive seven-piece band, under the musical direction of Aron Sood, powered through hit after hit as the story unfolded, while Sara Perks’ set design enhanced the storytelling through clever projections and automated panels that allowed for swift transitions between scenes and time periods. However, the pace of Nia T. Hill’s book often moved so quickly that it became difficult for the audience to form a genuine connection with the characters. For example, towards the end of Act One, Chaka suffers an overdose, leaving the audience wondering about her wellbeing.

Yet, in the following scene, she simply appears and begins trying on a wedding dress, with little acknowledgement of the previous events or seeing of her recovery unfold. Throughout the production, characters frequently explained how they were feeling rather than allowing those emotions to emerge naturally through the action, resulting in dialogue that was clunky and unnatural. While I admired Ricky Plews’ work on American Idiot a few years back, I found her direction of I’m Every Woman struggled to give the characters the depth and momentum needed to carry the story. The almost vignette-like structure of the scenes, combined with the uneven dialogue, meant there was often a lack of tension, urgency, or dramatic stakes. This could perhaps have been strengthened through a more conversational delivery of the script, allowing the emotional moments to land with greater impact.

While I’m Every Woman may not reach the dramatic heights or storytelling finesse of other biographical jukebox musicals like Jersey Boys, Tina The Tina Turner Musical or even The Cher Show, there is still plenty of joy to be found. The opportunity to see Chaka Khan’s incredible catalogue performed live remains a highlight, with outstanding vocal performances from the entire cast. Although the storytelling may not always match the power of its subject matter, there is no denying the talent on display and the affection for Chaka Khan that shines through.

I’m Every Woman – The Chaka Khan Musical plays at Wembley Park Theatre until 27 September 2026.

Where I Sat

For the press night of I’m Every Woman, I was seated in the Stalls, Row L, Seat 46. Positioned on the right-hand side of the auditorium, this seat offered a clear and unobstructed view of the stage throughout the performance. I had generous legroom however, the seat did become a bit hard at times. Troubadour Wembley Park Theatre was beautifully air-conditioned, which almost made up for the shambles of getting our tickets and starting half an hour later than scheduled.

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Reviewed by Stuart James for SeatPlan, August 2026