DOWNTOWN – “Six” has a soundtrack to die for. I knew that going in to see the popular musical playing at the Civic Theatre this week.
“Don’t Lose Ur Head” has been one of my favorite sing-in-the-shower bangers for the last couple years (Carlina Parker, who played Anne Boleyn for the Tuesday performance I attended, has much better range than I). The energizing musical’s opening track, “Ex-Wives,” introducing the six queens famous for their marriages to King Henry VIII, is a similarly catchy bop.
But seeing the show live brought so much more to bear than just humorous songs. Its delightful choreography, playful tone, quippy script, well-executed staging, spectacular lighting and audience interaction created an unforgettable night of storytelling. That electric connection between the six performers and audience reminded me why I love the adrenaline rush of live performance.
Emma Elizabeth Smith as Catherine of Aragon in the North American tour of “Six.” (Photo by Joan Marcus/Broadway San Diego)Let’s start with the basics. “Six” debuted at the Edinburgh film festival in 2017; writers Toby Marlow and Lucy Moss developed the concept as students at Cambridge. It was picked up on London’s West End in 2019 and Broadway, officially in 2021.
You don’t need to brush up on high school notes to enjoy this historical remix, even if the opening track uses the mnemonic employed by many teachers to help students remember the fates of King Henry VIII’s six wives: divorced, beheaded, died; divorced, beheaded, survived.
“Six” turns history on its head in a pop concert-style show with aspects of a reality TV show as the queens compete in a trauma sing-off. This has less political analysis than “Hamilton” or “Suffs,” and is more a fun way to engage with themes of female empowerment.
“Six” has a simple structure. The opening and closing songs feature the full cast of six women backed by four women in a band on stage. Inbetween, each queen shares her story in a solo in chronological marriage order with the other women providing backup vocals.
“Six” lacks an intermission, so another group number marks the mid-point in the 80-minute show. That song, “Haus of Holbein,” cleverly uses lighting to create a swipe right/left dating app interface as King Henry VIII seeks his fourth wife. It’s the perfect blend of modern trappings used to explain a historical event in a humorous way. Tim Deiling’s lighting design had other transcendent moments, so it’s no wonder he was nominated for a Tony Award in 2022 for Best Lighting Design of a Musical for “Six.”
Tasia Jungbauer as Catherine Parr in the tour of “Six.” (Photo by Joan Marcus/Broadway San Diego)The musical isn’t marked with multiple costume changes. Instead, the outfits of each queen have become iconic, with pins of each even sold as merchandise. Costume designer Gabriella Slade dresses each queen as a pop star on a world tour with influences of Tudor royal attire that also express aspects of each queen — which made the cast easier to differentiate.
The flirty green skirt of Anne Boleyn speaks to her role as the fashionable mistress turned queen who ignited jealousy in the king. In contrast, Catherine of Aragon’s staid gold attire nods to her Catholic devotion and stubbornness, combined well with the dignified posture of actress Emma Elizabeth Smith.
Alizé Cruz as Katherine Howard in the North American tour of “Six.” (Photo by Joan Marcus/Broadway San Diego)Carrie-Anne Ingrouille’s choreography also elevated the narrative with playfulness and taut expressions of movement. It wasn’t the most complex dancing I’ve ever seen in a Broadway tour – no acrobatics, tap dancing or kick rows. Instead it had the steps and arm poses of many a pop star. But it was the perfect expression of dance as storytelling, a common language people share, like a quick hip waggle as a euphemism for sex from Parker.
The most moving dance occurred around 17-year-old Katherine Howard, played by Alizé Cruz with hair reminiscent of Ariana Grande. “All You Wanna Do” describes the series of men who only wanted Katherine for sex in four choruses. But in that song, a hand on the shoulder communicated the grooming and abuse she faced starting at 13 years old. Cruz’s distress and fear, inability to speak for herself and lack of choice was expressed through movement rather than explicit lyrics – and far more effectively.
In addition to Parker, Cruz and Smith, the remaining queens were played by Kelly Denice Taylor as Jane Seymour, Hailey Alexis Lewis as Anna of Cleves and Tasia Jungbauer as Catherine Parr. Each had stunning vocals that matched the gospel and rock-influenced pop music.
After the queens learn not to compete with each other, “Six” concludes that maybe we don’t remember the six wives of King Henry VIII because of their connection to a monarch who founded the Church of England. Maybe we only remember King Henry VIII because of his six wives, whom he left the Catholic Church for. After all, I can’t tell you much about the prior King Henrys or their singular wives.
The national tour of “Six” plays at the Civic Theatre through Sunday. Find tickets at broadwaysd.com.
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