From Oct. 22 to Oct. 26, the North American tour of Tony award-winning production “SIX: The Musical” took over the Providence Performing Arts Center for a week of pop ballads, witty lyrics and “her-story” — the show’s clever, feminist rebranding of “history.”
Written by University of Cambridge students Toby Marlow and Lucy Moss, the show has taken the world by storm, dominating both London’s West End and New York City’s Broadway while becoming a common feature performance at award shows.
The show itself follows the six dead wives of King Henry VIII while they reclaim their stories as a 21st-century girl group, with each queen assuming a persona of a famous modern-day pop artist. Centered around a one-word summary of each queen’s ultimate fate — divorced, beheaded, died, divorced, beheaded, survived — the musical offers a modern retelling of their often grim realities and untold identities.
Theatergoers were immediately enveloped in the welcoming atmosphere of the venue upon their entrance. Crowns, capes and other Tudoresque accessories dotted the crowd as the lights began to dim and enthusiastic shouts of the audience members heightened the audience’s anticipation.
The show follows the queens’ marriages in order, starting with Catherine of Aragon (Emma Elizabeth Smith) and her biographical song “No Way.” She sings of her consistent loyalty to the king despite his frequent affairs, affirming there’s “no way” he can replace her. With backing vocals from the other queens, Catherine’s ballad is characterized by a powerful stage presence and an impressive series of riffs.
Throughout the song, the other five queens provide backup dancing and vocals, and the collective strength of each woman’s voice blends flawlessly into an effortless harmony.
Next, Anne Boleyn (Nella Cole) — inspired by Avril Lavigne and Lily Allen — takes center stage for a cheeky rendition of “Don’t Lose Ur Head.” After the audience learns she is moving in as one of Henry’s mistresses, Boleyn sings “Don’t worry, don’t worry / Don’t lose your head / I didn’t mean to hurt anyone.” The song’s conclusion ironically mirrors its title — that is, with Boleyn’s decapitation.
But the show takes a more laid-back approach for Jane Seymour’s (Kelly Denice Taylor) solo, “Heart of Stone.” The piece follows Seymour’s undying devotion to the king, as well as the birth of their first son through an emotional, piano-centric ballad reminiscent of the work of Adele.
Staying true to its setting as a modern-day pop concert, “SIX” makes full use of its spectacular light shows and glamorous, sequined outfits. These elements especially stand out during “Haus of Holbein,” which features glow-in-the-dark props, techno undertones and frequent dance breaks.
“Get Down,” sung by Anna of Cleves (Hailey Alexis Lewis), shines as one of the show’s most comedic, girl-power filled songs as she shoots back at the king for claiming she didn’t look like her “profile picture.”
“I’m the queen of the castle / Get down, you dirty rascal,” she sings.
The piece — featuring hints of Rihanna and Nicki Minaj — pokes fun at history through a series of Tudor-themed jokes like “I look more rad than Lutheranism” and “dance so hard that I’m causin’ a sensation / Okay ladies, let’s get in reformation.”
Up next is Katherine Howard’s (Alizé Cruz) “All You Wanna Do” starts out as a sultry, upbeat number, mirroring the sounds of artists like Ariana Grande and Britney Spears. But the piece takes a drastic turn as Howard acknowledges the trauma elicited by each of her previous relationships.
Finally, the only one of the six who survived, Catherine Parr (Tasia Jungbauer), mourns her lost lover with “I Don’t Need Your Love” before all six queens return for a shared finale. While acknowledging the often-forgotten history of the Tudor queens themselves, the show offers an alternative ending that reimagines the queens’ identities outside of the man they married.
With numerous pop ballads reminiscent of the artists guests already know and love, “SIX” brought Broadway to Providence for a fun, comedic and inspiring evening. Its glamorous costumes, colorful lights and enthusiastic celebration of girl power makes it one of the standout new musicals of the past decade.
