Six is a musical that has rewritten history in more ways than one. This power pop phenomenon not only reframes what we think we know about the six wives of Tudor monarch King Henry VIII through a feminist lens; the show itself has flipped the script on the typical trajectory an original musical follows to achieve international success.
Written by Cambridge University students Toby Marlow and Lucy Moss, Six premiered at the Edinburgh Fringe Festival in 2017 and within three years had opened in London’s West End before embarking on a UK tour and premiering on Broadway. This is the second time Six has toured Australia, not counting the original 2020 production that was shuttered due to the pandemic. Most musicals take years if not decades to achieve this level of success and popularity, and the stats for Six are staggering: 35 international awards, 1.5 million followers on social media, one billion streams of the cast recording and a worldwide audience of 3.5 million. So, what is about this little show that elicits such a rapturous response?
This is my second time seeing Six and the key to its success lies in the simple yet dazzling design and staging, the strength of the score and the celebratory vibe of the whole package.
Across a tight, intermission-free 80 minutes we are introduced to the six historical queens via a simple framing device: a competition to decide which wife suffered the most at the hands of Henry VIII. One by one, each queen steps up to the microphone to tell their story through a series of catchy songs reminiscent of modern popstars such as Beyoncé, Adele and Ariana Grande. Attributing a distinct musical and visual style to each queen is a clever way to bring out their individuality, and offers each performer an equal chance to strut their stuff on stage.
In the 2024 cast we have returning queens Loren Hunter as Jane Seymour and Chelsea Dawson as Catherine Howard, joined by new members Kimberley Hodgson as Catherine of Aragon, Deirdre Khoo as Anne Boleyn, Zelia Rose Kitoko as Anne of Cleves and Giorgia Kennedy as Catherine Parr. Their distinct voices blend beautifully, particularly in the opening and closing numbers, and collectively they have great chemistry on stage.
Dawson’s experience in the role of Howard shows; she exudes confidence, has impeccable comic timing and shows off some killer vocal riffs. Khoo is very funny as Boleyn, and Kitoko executes the choreography thrillingly, particularly in her solo number ‘Get Down’. Hunter fares less well in her song ‘Heart of Stone’. This ballad provides a moment of stillness and sincerity at just the right time; however, Hunter sounded vocally fatigued on opening night, diminishing the impact of the song.
Parr is the last queen to tell her story, but it’s definitely worth the wait. Kennedy brings strength and humanity to the role and her performance of ‘I Don’t Need Your Love’ is a powerful highlight of the show.
The production elements, which have all had a glow-up since the last tour, work cohesively to produce a genuinely exciting atmosphere in the theatre. The simple set incorporating amphitheatre-style steps, steel grids and LED lights, coupled with the booming bass of the sound design and the dramatic crispness of the lighting, make you feel like you’re at a genuine pop concert. The audience is encouraged to shout and cheer for their favourite queens and are even invited to whip out their phones and film the ‘MegaSIX’ at the end of the show. This relaxed atmosphere makes attending Six a unique theatrical experience.
Nonetheless, Six is not without its flaws. Some familiarity with both the historical figures and the songs would be helpful going in, as several important facts and lyrics can get lost in the mix. The writers’ aim of giving agency back to these traditionally marginalised women and reclaiming history from the typical patriarchal viewpoint is admirable, and the exploration of such themes as abuse, sexualisation and trauma is important in this context, but the overall delivery is too light and tongue-in-cheek to really make a strong impact.
Compared to the dynamic score, the brief book scenes are rather weak, and after a while the rivalry between the queens becomes repetitive; you begin to wonder what point Six is trying to make. Thankfully, Parr comes in at just the right time to offer some perspective and clarity through her questioning of the competition and her interrogation of what actual power the queens have over the telling of their stories. Ultimately, this comes a little too late; by this point the overall message of Six has already become somewhat convoluted.
Read: Musical review: In the Heights, Sydney Opera House
In the end Six wins you over with its dynamic energy and unique blend of traditional musical and pop concert. As mentioned in the program notes, Marlow and Moss always aimed to prioritise fun and empowerment over seriousness and rigid historical accuracy when originally conceiving the show, so audiences going in with this expectation will be sure to have an amazing time.
I certainly had an absolute blast on opening night and couldn’t wait to leap to my feet to show my appreciation and dance along with the cast, though I did notice a small number of attendees who seemed completely baffled by the show itself and the crowd’s enthusiastic response. So, although Six may not appeal to everyone, if you’re a fan of female empowerment and ripper pop songs, it doesn’t get much better than this.
Six
Book, lyrics and music by Toby Marlow and Lucy Moss
Produced in Australia by Louise Withers, Michael Coppel and Linda Bewick
Directed by Lucy Moss and Jamie Armitage
Choreography: Carrie-Anne Ingrouille
Set Design: Emma Bailey
Costume Design: Gabriella Slade
Lighting Design: Tim Deiling
Sound Design: Paul Gatehouse
Orchestrator: Tom Curran
Musical Supervisor: Joe Beighton
Australian Associate Director: Sharon Millerchip
Resident Choreographer/Assistant to the Director/Alternate Swing: Cristina D’Agostino
Music Director/Keys: Claire Healy
Assistant Music Director/Keys: Heidi Maguire
Drums: Kathryn Stammers
Guitar: Danielle Colligan
Bass: Ann Metry
Cast: Kimberley Hodgson, Deirdre Khoo, Loren Hunter, Zelia Rose Kitoko, Chelsea Dawson and Giorgia Kennedy
Swings: Gabriella Boumford, Thalia Smith
Dance Captain/Swing: Chiara Assetta
Comedy Theatre, Melbourne until 20 October 2024
Sydney season from 25 October 2024
Brisbane season from 2 January 2025
