I'm Every Woman at a glance

Show
I'm Every Woman — The Chaka Khan Musical
Venue
Troubadour Wembley Park Theatre, London
Address
3 Fulton Road, London HA9 0SP
Nearest station
Wembley Park (Metropolitan, Jubilee — 5 min walk); Wembley Stadium (Chiltern Railways — 12 min)
Genre
Bio-musical (jukebox) — soul, funk, pop
Running time
To be confirmed
Age guidance
12+ (anticipated — confirm closer to opening)
Dates
22 July – 27 September 2026 (10-week limited run)
Pre-show
The Soul Train Club — immersive 80s experience inside the venue
Price range
From £25 (typically £25–£130)
Star
Alexandra Burke as Chaka Khan
Book
Nia T. Hill
Director
Racky Plews
Producer
Adrian Grant (Thriller Live)
Endorsement
Backed by Chaka Khan herself

Expert Preview: I'm Every Woman at Troubadour Wembley Park

4.1
★★★★☆

LTH Anticipated Rating

The Verdict

The Chaka Khan bio-musical arrives with a combination of advantages most new musicals don't have. The producer, Adrian Grant, has done this before — his Thriller Live spent more than a decade in the West End and became the 12th biggest West End musical of all time, built on exactly the same template: pop catalogue plus charismatic lead plus committed company. The lead, Alexandra Burke, is one of the most versatile musical-theatre voices working in the UK, with Sister Act, The Bodyguard, and Joseph and the Amazing Technicolor Dreamcoat behind her. And the catalogue itself — fifty years of Chaka Khan hits, from Tell Me Something Good to I'm Every Woman — is one of the best in pop history.

The journey to this run hasn't been entirely smooth. The musical was originally announced for the Peacock Theatre in March 2026, but emergency building works at that venue forced a short replacement run at the Hackney Empire. This July's transfer to Troubadour Wembley Park is, in effect, the production's real West End opening — at a larger, concert-scale venue with the audience configuration this material wants. The Wembley Park Theatre's pre-show Soul Train Club 80s experience adds an immersive layer most West End shows can't offer.

Our anticipated rating reflects the strength of the catalogue, Alexandra Burke's track record, and Adrian Grant's experience building this kind of show. Full review and critical reception will be added here after press night.

What Makes It Special

  • Alexandra Burke in the title role. Burke won The X Factor in 2008 with a Chaka Khan-adjacent vocal style and has spent the years since establishing herself as one of British musical theatre's most reliable leading ladies — Sister Act (West End and tour), The Bodyguard, Joseph and the Amazing Technicolor Dreamcoat. Burke has spoken publicly about Chaka Khan being the artist she sang at her first ever audition.
  • Chaka Khan's catalogue. Ten Grammy Awards. Twenty-two Grammy nominations. Twenty-two albums. Seventy million records sold. Five decades of pop, soul, jazz, and funk. The catalogue includes I'm Every Woman, I Feel For You, Tell Me Something Good, Ain't Nobody, Sweet Thing, Higher Love, Through The Fire, and many more. Few jukebox musicals start with a stronger song list.
  • Adrian Grant as producer. Grant's Thriller Live ran in the West End from 2009 to 2020 and became the 12th biggest West End musical of all time. He worked with Michael Jackson directly for two decades and won Best Producer at the 2020 Black British Theatre Awards. He knows exactly how to turn a pop catalogue into a long-running stage show.
  • Chaka Khan's personal endorsement. Unusually for a bio-musical, the show is backed by the subject herself — Khan has been involved in the development and has publicly endorsed the production. That gives the show access to material and stories most bio-musicals can only guess at.
  • The Troubadour Wembley Park venue. The 2,000-seat purpose-built venue (opened 2018) offers concert-scale staging that this kind of music musical thrives in. The pre-show Soul Train Club immersive 80s experience inside the theatre extends the night into something more than just a show — dance, drinks, atmosphere, then performance.
  • Racky Plews directing, Nia T. Hill on book. Plews is one of the most experienced touring-musical directors in the UK; Hill brings a fresh writing voice to the bio-musical form.

You'll love I'm Every Woman if you...

  • Grew up with Chaka Khan, Rufus, or 70s/80s soul and funk
  • Enjoyed Thriller Live, Tina, MJ The Musical, or other pop-catalogue bio-musicals
  • Are an Alexandra Burke fan and want to see her in a lead role built around her voice
  • Want a concert-scale night out with pre-show atmosphere built in
  • Live in north or northwest London — Wembley Park is on your doorstep

It might not be for you if you...

  • Prefer original-score book musicals over jukebox bio-musicals
  • Don't know Chaka Khan's catalogue — you'll get less out of it than fans
  • Are based in central or south London — Wembley Park is a journey from most of the West End
  • Want subtle, character-driven drama — this is celebratory and high-energy
  • Want to know the full cast before booking — only Burke is confirmed so far

Best for

  • Chaka Khan fans
  • Soul / funk lovers
  • Alexandra Burke fans
  • 80s nostalgia
  • Bio-musical fans
  • Group nights out

Not the strongest fit for audiences seeking original-score book musicals or character-driven serious drama.

Critical Reception

Reviews will be added here following the production's press performances in late July 2026 at Troubadour Wembley Park. The earlier March 2026 short run at the Hackney Empire was not widely reviewed by the major UK theatre press, given its compressed schedule and pre-development context. We will update this section with verified star ratings from the Guardian, Times, Telegraph, Time Out, WhatsOnStage, The Stage and other major UK publications as they publish.

  • The Guardian — review TBC
  • The Times — review TBC
  • The Telegraph — review TBC
  • Time Out — review TBC
  • WhatsOnStage — review TBC
  • The Stage — review TBC

This section will be updated with verified ratings and quotes from major UK publications following press performances in summer 2026.

Everything You Need to Know

What happens in I'm Every Woman?

The musical tells the life story of Chaka Khan — born Yvette Marie Stevens in Chicago in 1953 — from teenage years through to global pop stardom and the personal struggles that ran alongside it.

Chicago and the Black Panther Party

The story opens in late-1960s Chicago, where the teenage Yvette Stevens — politically engaged, musically obsessed — became involved with the Black Panther Party's youth wing. Her activism and her early music education ran in parallel. She took the name Chaka, given to her by a Yoruba priest, around this time. The show traces how a politically conscious teenager became one of the most distinctive voices in American popular music.

Rufus and the breakthrough

In the early 1970s, Khan joined the funk band Rufus, where she became the lead vocalist on hits including Tell Me Something Good (written by Stevie Wonder) and Sweet Thing. Rufus took her from local Chicago clubs to international fame in a remarkably short span. The show's first act follows this trajectory — the chemistry of the band, the tensions of leadership, the way one voice can transform a group's sound.

Solo superstardom

Khan's solo career began in 1978 with the album Chaka, which contained I'm Every Woman — a song that became one of the most influential female-empowerment anthems in pop history. It was famously covered by Whitney Houston for The Bodyguard soundtrack fifteen years later. Khan continued to record hits through the 1980s — I Feel For You (with Stevie Wonder on harmonica), Through the Fire, This Is My Night — and collaborated with Prince, who wrote songs for her and reportedly described her as one of his favourite vocalists.

The famous friends

The book by Nia T. Hill weaves in Khan's relationships with the artists who orbited her career: Joni Mitchell (a recurring collaborator), Prince, Stevie Wonder, Robert Palmer, Steve Winwood. These aren't just name-checks — the show uses these relationships to show how Khan moved across genre lines that segregated pop music in her era, from soul into rock into jazz and back.

Addiction and recovery

The musical does not airbrush the harder material. Khan has spoken publicly about her decades-long battle with addiction, which she eventually overcame in the early 2000s. The show treats this material with the seriousness Khan herself has asked for — it's part of the story, not a footnote.

Legacy

By the time the show closes, Khan has emerged as not just one of the great vocalists of her generation but one of the architects of modern R&B — sampled by Mary J. Blige, Kanye West, and countless others, with her voice woven into the fabric of contemporary pop. The finale brings the catalogue home with I'm Every Woman at full volume.