After facing a bumpy opening due to the pandemic, SIX: The Musical has still managed to endure for nearly a very apt six years. On the Broadway stage, that’s no small feat, considering the rapidly fluctuating economy, and the constantly shifting nature of theatre tastes. Focusing on the colorful her-story of Henry VIII’s six wives, this female-driven delight is a completely unique experience unlike anything else currently playing. It’s a preposterous historical blast! The show’s abject minimalist aesthetic and sparse set design actually work to its benefit, especially where sustainability is concerned. The lighting, choreography, and performances do all the heavy lifting, channeling a vibrant concert energy that transforms SIX: The Musical into a true crowd-pleaser.
Though I had yet to see the show, I was very familiar with the music thanks to the iconic original Broadway cast album recording. In a flooded landscape, it was difficult to find time to devote to the Tudors. With that in mind, catching Pentatonix’s Kirstin Maldonado as Ann Boleyn became a priority once she was announced. The stars were in alignment, as the current lineup was practically perfect! This includes a vibrant mixture of touring stars (Jasmine Forsberg, Olivia Donalson), a Broadway vet (Khaila Wilcoxon), a newcomer (Abigail Barlow) and one original cast member with flawless vocals (Anna Uzele). In the words of the show, it was definitely the “one you’ve been waiting for.”
It’s the Divorced, Beheaded Live Tour! Sticking with the concert theme right off the bat, we meet all six of Henry VIII’s wives, each with distinctive costumes and aesthetics. That extends down to the earrings of which bride they represent! The women have specific perspectives about their time with Henry, offering plenty of varied music and juicy drama. Maldonado gets to shine throughout with a recurring gag about her beheading; Donalson shines on a throne during the fan favorite “Get Down.” Of course, there are plenty of diva antics, and a bit of catty fighting over who has the worst trauma. It becomes almost a contest to decide who was treated the most unfairly.
Each of the six women perform an extravagant solo number, apart from the last song, which is incredibly intimate and stripped down in the style of Alicia Keys. Boy can Anna Uzele belt those high notes! Every story demands investment, especially Jane Seymour (Frosberg), who sings “Heart of Stone,” arguably the most tender and emotional number. Frosberg’s vocals genuinely gave me chills. Many of these songs are incredibly upbeat, a clever juxtaposition between some of the women’s actual lives. Anything that can make history palatable for younger folks should be applauded.
The dark humor mostly works, overflowing with sexual innuendo and campy asides. There are tongue pops, and nods to queer culture along the way. The choreography wisely keeps the women constantly on the stage together. They always have something to do, even when relegated to backup dancers. The outrageously fun German disco pop zinger “Haus of Holbein” is a ridiculous, sunglasses-toting highlight that incorporates every character. On a separate note, the set isn’t completely void of life: we see the band on stage at all times, and they are introduced immediately. This bucks a concert trend where the band only gets a shoutout in the finale. There are some screens that mostly show off neat stylish period-esque columns, and the lighting constantly shifts to highlight the star vocal performers.
The structure unfolds brilliantly, never slowing the pacing over a breezy intermission-free hour-and-a-half. Six solo numbers are nicely spaced out, and consistently flesh out the character being discussed. The variety of different situations that led to the wives’ deaths make for ample lyrical and musical symmetry. The traditional narrative is admittedly thin. The book from Toby Marlow and Lucy Moss relies entirely on the storytelling prowess of the maligned women. However, if you’ve come for a show that merely consists of squabbling ladies, SIX: the Musical has much more on its mind. It recontextualizes these depressing stories, adding a feminist edge to the proceedings. The finale even allows for a bit of fairytale retelling. This aspect works marvels, and also encourages audience engagement.
For this longtime listener, Six brought so much joy in finally seeing these vibrant songs in context. They are all individually great, radio-ready bops. Lyrically, they speak wonders while still remaining contagiously catchy. Tony-winner for best original score and best costume design, this special show has a great message, particularly for the women in the audience that have fallen victim to patriarchal wrongdoing. Thrilling audiences over thousands of performances, SIX: The Musical still shows no signs of shattering its heart of stone. Just say ja, and don’t say nein!
SIX: The Musical is deep in performances turning tragedy into musicality at Broadway’s Lena Horne Theatre. For ticketing information, please head over to the official website.
