By ELIZABETH SCHABINGER
Divorced. Beheaded. Died. Divorced. Beheaded. Survived! The six wives of British King Henry VIII are back in Washington, D.C. at the National Theatre, fresh from their out-of-town previews in Elmira, New York.
Six The Musical tells the story of the six wives of King Henry VIII of England through a Eurovision-style song contest of who had the worst experience being married (and subsequently separated from) their husband. This brand new cast of queens and their backup band of ladies-in-waiting premiered on Nov. 12 and will run through Dec. 1.
Each wife sings a solo loosely styled after famous female pop musicians, their “queenspiration”: Catherine of Aragon as an amalgamation of Beyoncé and Shakira, Anne Boleyn as Lily Allen and Avril Lavigne, Jane Seymour singing a ballad a la Adele and Sia, Anna of Cleves inspired by Nicki Minaj and Rihanna, and Katherine Howard as a mashup of Alicia Keys and Emili Sandé.
The accompanying orchestra, traditionally hidden in the pit, is featured on stage as “ladies-in-waiting”. Keyboardist Lizzie Webb effortlessly plays the pop-heavy score. Rose Laguaña plays both electric and acoustic guitar, and Emily Davies plays the bass. Camila Mennitte Pereyra rounds out the band.
While its short 80-minute with no intermission run-time may dissuade some theater goers prioritizing value for money in their evening entertainment, this new national tour features everything audiences love about Six: iconic costuming, strong vocal performances, pop concert evoking lighting design, and girl group choreography.
Despite the new cast of queens still settling into their roles (this reviewer saw a few accihani Maisonet effortlessly channels Beyoncé as the powerful first ex-wife, Catherine of Aragon. Gaby Albo as Anne Boleyn found humor in every second of being on stage. She holds up a peace sign and sticks her tongue out, channeling the playfulness of a teenager taking selfies as much as she channels the punk of Avril Lavigne.
Kelly Denice Taylor plays Jane Seymour with a well-earned sweetness and does not come off as entitled, as opposed to some of her predecessors in the role. She sings “Heart of Stone” with grace and gives a smooth vocal performance.
Danielle Mendoza looks like she is having the most fun as Anna of Cleves, convincing audience participation from the front row during “Get Down.” The throne rising out of the floor during Anna of Cleaves’ solo is a nice touch from scenic designer Emma Bailey.
Alizé Crus plays Katherine Howard without the total meltdown that others in her role perform, but her solo “All You Wanna Do” still effectively gives the surprising and dark twist.
Tasia Jungbauer shines as Catherine Parr, stately and regal, above the fray of the bickering other queens.
Six the Musical’s take on the true history of the six wives of Henry VIII champions girl power.
Audiences come cosplaying their favorite queens and walk out inspired by the show’s core thesis: women working together can change the world! This message rings hollow in this current political climate where the country has rejected, for the second time, a female presidential candidate.
Six the Musical feels like an escape and a “what if” today, even more than when it first surfaced at teh Edinburgh Fringe Festival premiered on the West End in 2019. It’s a joyful and wonderful escape; an 80-minute nonstop adrenaline rush of theater.
Just don’t think too much about how different reality is from the theater once you leave.
Six: The Musical (80 minutes with no intermission) plays at the National Theatre, 1321 Pennsylvania Avenue, until December 1, 2024. For tickets click here.
