The new musical "I’m Every Woman," a biographical show centered on the life and career of singer Chaka Khan, has opened to largely negative reviews despite praise for its lead performance and musical numbers. Alexandra Burke, who portrays Khan, received widespread acclaim for her vocal delivery, with critics highlighting her powerful voice and the strong soul tones exhibited throughout the production. The male ensemble’s falsettos were also noted as impressive.

The production incorporates dynamic stage design elements, including large sliding panels and projections that create a sense of continuous motion, which some observers acknowledged as visually effective. The musical opens with a brief, promising moment as five women intertwine during the title song "I’m Every Woman." However, the narrative soon shifts abruptly into a rehab counseling session, intending to explore Khan’s darker personal struggles, which critics found heavy-handed and clichéd.

Directing by Racky Plews and the script by Nia T Hills have drawn particular criticism for their handling of the story. Reviewers described the script as unrealistic and filled with cliched dialogue, while the direction was characterized as erratic, shifting awkwardly between broad comedic moments and melodramatic scenes. The tone was said to fluctuate inconsistently, making it difficult for the cast to deliver coherent performances.

The plot attempts to condense various aspects of Khan’s life, including references to an addicted father, involvement with the Black Panthers, tumultuous relationships, and episodes of substance abuse and personal danger. Critics felt these elements were briefly touched upon without depth, reducing significant moments to mere plot points rather than fully developed scenes. The transitions between serious incidents and musical numbers were reported as jarring, with famous songs like "I’m Every Woman" and "Ain’t Nobody" presented in ways that some found underwhelming given their iconic status.

Supporting characters also received mixed reactions, with particular attention paid to Marie Stevens—portrayed as a chaotic, laugh-seeking figure representing Khan’s negative impulses. The character’s role and the eventual reveal of her symbolic identity were seen as predictable and clumsily executed.

While the production aims to celebrate the legacy of Chaka Khan and her contributions to music, many felt that the musical’s overlong runtime and uneven execution diminished its impact. Despite an enthusiastic curtain call medley, critics concluded that the show struggles to balance the weight of its biographical material with effective storytelling and theatricality.