SIX is a musical about the ex-wives of King Henry VIII, who held the English throne from the age of 17 in 1509 until his death in 1547. But this is not a stuffy, old retelling of history. No, no. Writers Toby Marlow and Lucy Moss have taken some creative liberties injecting modern-day language, mobile phones and dating norms such as swiping left or right on a potential match.
It’s a concept that shouldn’t work, and yet it does brilliantly.
SIX is a vibrant, energetic, and ultimately, empowering musical. With all the hallmarks of a modern pop concert, each member is given their moments to shine. The highlight, however, are the group numbers, notably Haus of Holbein, a combination of German polka and neon rave.
Individually, I’m partial to Anne Boleyn’s Don’t Lose Ur Head and Katherine Howard’s All You Wanna Do, but it’s difficult to not also marvel at Loren Hunter’s vocals during Heart of Stone (the show’s only slow number), as Henry’s third wife, Jane Seymour, tragically recounts not being able to watch her son Edward VI grow up.
A singing competition between the ex-wives to see who suffered the worst under Henry’s rule is the catalyst for the musical. By the end, the queens come together to reclaim their individual identities and rewrite their stories. SIX is essentially about female empowerment – with not-so-subtle nods to the queen B herself, Beyonce, and OG girlband, The Spice Girls.
The talented cast of six are even backed by an on-stage all-female band, comprising of Clare Healy (Musical Director/keys), Heidi Maguire (Assistant Music Director/keys), Kathryn Stammers (drums), Danielle Colligan (guitar) and Ann Metry (bass).
Costumer designer Gabriella Slade has created costumes as iconic as the queens themselves. In their respected colours, corsets and puffed sleeves from the Tutor age are mixed with the glitz of today including short skirts, metal spikes, sparkly boots and bedazzled microphones.
Emma Bailey’s set design is kept minimal, but little is needed. Lighting design by Tim Deiling helps create drama and mystery and aids in humour. Choreographer Carrie-Anne Ingrouille‘s energetic routines perfectly utilises the grandness yet intimacy of the Comedy Theatre.
I was lucky enough to see SIX during its 2021-2022 production in Melbourne, and what struck me in this new version were the obvious changes – certain vocal choices and lyric tweaks (namely during the penultimate SIX). Hunter (Jane Seymour) and Chelsea Dawson (Katherine Howard) also reprise their roles while newcomers Kimberley Hodgson (Catherine of Aragon), Deirdre Khoo (Anne Boleyn), Zelia Rose Kitoko (Anna of Cleves) and Giorgia Kennedy (Catherine Parr) round out the culturally diverse cast.
Each cast member works together harmoniously, and you can visually tell that everyone is having a good time – and that enthusiasm is contagious. Audience members are encouraged to participate by cheering for their favourite queen (sing-along dates have also been announced). On opening night, Anna of Cleves invited a woman to get up and dance. It’s that spontaneity that keeps the show fresh night after night, and helps come repeat viewing.
I believe the correct word is ‘edutainment’ (educational entertainment) and while there’s plenty of that in SIX (meaning, I learnt a lot), historical accuracy is not the point here. From the high octave opening number, Ex-Wives to the closing mashup MegaSIX (in which the audience has permission to film), all 80 minutes is a dazzling feast for the eyes as well as the mind.
If I were to give some criticism, heavier topics (such as miscarriages and death) are often quickly replaced by a joke. That brashness may confuse, and possibly offend, some people. Additionally, I found the bickering between the wives forced and unconvincing. I know that’s part of its narrative but visually the cast are clearly having too much fun for me to believe any of it.
Since its debut at the at the Edinburgh Festival Fringe in 2017, SIX is seen by over 3.5 million people worldwide each year. It has won 35 major international awards, including two Tony Awards for ‘Best Original Score’ and ‘Best Costume Design’, and a 2023 Grammy nomination for ‘Best Musical Theatre Album’. Additionally, the original Studio Cast Recording and SIX: Live on Opening Night Broadway have a combined streaming figure of over 1 billion.
The queens will be appearing at Melbourne’s Comedy Theatre until October 20 before heading to Theatre Royal Sydney and Brisbane’s Playhouse Theatre, QPAC from January 2025.
SIX runs without interval. It is recommended for persons aged 10 and up due to its adult themes, including discussions of miscarriage and personal trauma of a physical and sexual nature. The production also uses strobe effects, flashing lights, theatrical haze and loud music.
Tickets and further information can be found at sixthemusical.com.au.
Read our 2022 review of SIX – the musical here.
Images used with permission / James D. Morgan
TINSEL and TAP SHOES 